| 隐秀与意境比较谈--中国古代文艺美学范畴研究 |
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| 引用本文： | 成远镜.隐秀与意境比较谈--中国古代文艺美学范畴研究[J].北京邮电大学学报(北京邮电大学学报),2001,3(2):51-55. |
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| 作者姓名： | 成远镜 |
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| 作者单位： | 娄底高等师范专科学校,中文系,湖南,娄底,417000 |
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| 摘 要： | 刘勰的"隐秀"论,强调"隐"与"秀"的契合和"余味曲包",这些特点已符合意境的审美要求,因此,隐秀就是意境的最初形态.但隐秀的"秀"是一种局部的美,意境的"境"是一种整体的美;隐秀通常指一种含蓄的风格,意境指的是作品的韵味与风神,隐秀为意境的形成奠定了基础,意境是对隐秀的发展.
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| 关 键 词： | 隐秀 余味曲包 文艺美学 美学研究 |
| 文章编号： | 1008-7729(2001)02-0051-05 |
| 修稿时间： | 2001年1月2日 |
A comparative study of the two aesthetical terms: implication and artistic conception--a study of the aesthetical category of literature & art in ancient China |
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| CHENG Yuan-jing.A comparative study of the two aesthetical terms: implication and artistic conception--a study of the aesthetical category of literature & art in ancient China[J].Journal of Beijing University of Posts and Telecommunications(Social Sciences Edition),2001,3(2):51-55. |
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| Authors: | CHENG Yuan-jing |
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| Abstract: | Chinese ancient literati Liu Xie's theory of implication behind direct object plays emphasis on the melting of the implication behind direct object and the lingering charm in an indirect way,which just meets the requirements of the artistic conception in aesthesis, therefore , implication is the primary form of artistic conception. However, implication behind direct object reveals just the partial beauty in a certain way wherease the artistic conception reflects the entirety of abstract beauty. implication usually refers to the embodiment of writing style while artistic conception, the lingering charm and aesthetic style. Therefore, implication behind direct object lays the foundation for the artistic conception while the later shows the development of the implication through direct object. |
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| Keywords: | implication tortuous inclusion of aftertaste aesthetics of literaure & art aesthetical study |
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