| “景”“境”之别与明清人情景论之偏失 |
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| 引用本文： | 段振良. “景”“境”之别与明清人情景论之偏失[J]. 清华大学学报(哲学社会科学版), 2003, 0(6) |
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| 作者姓名： | 段振良 |
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| 作者单位： | 贵州师范大学钢仁学院 贵阳 |
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| 摘 要： | 意境范畴中的“境界”概念源自佛家,有两个基本涵义:一是主体所处的外在时空;二是主体意识状态。作为时空之境,它不等于“景”而包含“景”。明清人以“景”充“境”并以情景关系论意境,犯了不相称的逻辑错误,无法对意境作出正确界定。文章认为意境是未经充分言说的特定时空的感悟。
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| 关 键 词： | 景 境 偏失 |
On Differences between "Landscape" and "Poetic Image" and Deficiency of Perspectives of Chinese of Ming Dynasty and Qing Dynasty on Relationship between Emotion and Landscape |
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| DUAN Zhen-liang. On Differences between "Landscape" and "Poetic Image" and Deficiency of Perspectives of Chinese of Ming Dynasty and Qing Dynasty on Relationship between Emotion and Landscape[J]. Journal of Tsinghua University(Philosophy and Social Sciences), 2003, 0(6) |
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| Authors: | DUAN Zhen-liang |
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| Abstract: | The concept poetic image, from Buddhism, means two things: the time and space subject lives in and the consciousness of subject. Obviously, poetic image includes landscape, Chinese of Ming Dynasty and Qing Dynasty made a logic mistake in equating "landscape" and "poetic image" and confining poetic image to emotion and landscape relations. This not only misled the definition of poetic image, but also hindered application of poetic image studies to prose and novel. Poetic image is a feeling of specific time and space without being expressed clearly in words. |
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| Keywords: | landscape poetic image deficiency |
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