《诗经》至《楚辞》山水审美意识之演进

通过对《诗经》、《楚辞》中所表现出来的山水审美意识进行较为全面的考察 ,可以发现 :《诗经》多以山水景物作比兴之背景材料 ,景真实而语简朴 ;《楚辞》比兴的背景材料更为丰富 ,景多虚而词尚丽。《诗经》多以“水”象征绵绵愁绪和渲染情绪与气氛 ,情景交融者较少 ;《楚辞》山水景物描写多呈感伤性色彩 ,且每每以自然山水历程之艰险象征人世道路之艰难 ,情景交融者甚多。《诗经》山水审美意识经历了一个由敬畏山水自然之神到以山水为比兴材料及愉悦对象的变化过程 ;《楚辞》从一开始便表现出对山水等自然神的亲和感和热爱感。较之《诗经》 ,《楚辞》的山水审美意识更强了 ,山水审美的自觉性更高了 ,诗歌艺术境界更宽了 ,为迎接山水诗时代的到来提供了较为丰富而宝贵的创作经验

The Evolution of Aesthetic for Nature from Shijing to Chuci

A comprehensive comparison is made in this paper for the aesthetic of nature between Shijing(Book of Poetry),an anthology of Chinese ancient poetry and Chuci(The Songs of South),a masterpiece of QU Yuan. It points out that the background materials for analogy in Shijing are the scenic hills and waters,which are described as they are in simple language,while in Chuci,the materials are much richer with imaginary scenery and flowery language.In the former,water is used to symbolize the lingering sorrow and elaborate the emotion and atmophere,with the poet's feelings and the nature greatly separated from each other. In the latter,QU Yuan describes the natural scenery in a sentimental tone and he always combines the nature's danger and treacherousness and the hardship of human life harmoniously into one. In the former,the sense of aesthetic for nature goes through the changs from awing the deity of nature to regarding the hils and waters as analogical materials and pleasant company. But in Chuci,from the very beginning,the poet shows his love and closeness to the deity of nature. Moreover,compared with Shijing,the sense of aesthetic in Chuci is stronger,the poet's self-consciousness has been improved,and the artistic horizon has been broadened. And it offers an abundant and precious creative experience for the coming of the new epoch of landscape poems.