“复”与“变”的互动──论陈子昂诗歌理论和创作的创新

唐代诗僧皎然认为陈子昂的诗歌“复多而变少”。如若其然，则子昂何以成为有唐一代诗风的开创者？若无新变，则不能代雄。陈子昂的诗歌理论推陈出新，提出“骨气端翔，音情顿挫，光英朗练，有金石声”这样富有新的时代特色的审美理想，并将唐代诗歌的审美品位标定在一个崭新的高度。唯其如此，才有嗣后盛唐诗歌创作“文质半取，风骚两块。言气骨则建安为传，论宫商则太康不逮”的特征。他的诗歌创作，无论是古体还是律体，无论是思想内容还是风格声律，都能在继承的基础上颇多创新。这可谓由“复”求“变”，“变”中有“复”。盛唐诗歌之所以能“变汉魏之古体为唐体，而能复其高雅；变六朝之绮丽为浑成，而能复其挺秀”，陈子昂功不可没。

The Interaction between Fu (the Traditional) and Bian (the Innovative)——Chen Zi-ang's Poetry Theory and Innovative Writing

Abstract:Monk poet Jiao Ran in the Tang Dynasty believes that Chen Zi-ang's composition ofpoems is more traditional (fu) than innovative (bian). If it is so, however, how can Chen be regarded as the father of a new style of Tang's composition of poems during the period of her full bloom?As we all know that unless there is an innovation, there will never be a great master. Chen's theoryof poems provides with the new based on reform from the old. He creates an aesthetic ideal withfresh air of the new era. He raises the Tang poems after him to a high level in accordance with aesthetic criteria. For this reason, the grand Tang composition of poems after him achieves a greatersuccess than previous times. This is a very outcome of his pursuing bian (innovation) from fu (tradition) and his dwelling fu (tradition) in bian (innovation). Chen's theory and composing can beregarded as a manifestation of the new Syntheses containing fu and bian. Hence is a great contribution to the development of Tang's composition of poems in her full bloom and a great heritage for thegenerations to come.