| 古代诗学“无迹而神”说的美学意义 |
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| 引用本文： | 涂承日. 古代诗学“无迹而神”说的美学意义[J]. 东方论坛, 2007, 0(5): 41-45 |
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| 作者姓名： | 涂承日 |
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| 作者单位： | 洛阳理工学院,社会科学系,河南,洛阳,471023 |
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| 基金项目： | 河南省教育厅人文社会科学研究规划基金 |
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| 摘 要： | "无迹而神"是中国古代诗学范畴中的一种审美形态,是与"以形写神"说相对而立的艺术命题.古代诗学倡言"无迹而神",其美学意义在于:就创作层面而言,"无迹而神"铸就了诗歌艺术含蓄蕴籍的美学品格与虚白的审美结构;就鉴赏层面而言,"无迹而神"关注了受众的"审美期待视野",体现出强烈的读者意识.
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| 关 键 词： | 古典诗歌 无迹而神 美学意义 |
| 文章编号： | 1005-7110(2007)05-0041-05 |
| 修稿时间： | 2007-09-18 |
The Aesthetic Significance of ''''Spirit with No Trace'''' in Acient Poetics |
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| TU Cheng-ri. The Aesthetic Significance of ''''Spirit with No Trace'''' in Acient Poetics[J]. Orient Forum, 2007, 0(5): 41-45 |
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| Authors: | TU Cheng-ri |
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| Abstract: | "Spirit with no trace" in ancient Chinese poetics is one of the significant aesthetic forms and an artistic proposition opposed to the theory of "conveying the spirit through describing the form". The aesthetic significance of "spirit with no trace" proposed by ancient poetics is two-fold: in creation,it shapes the connotative aesthetic quality and the virtual aesthetic configuration; in appreciation,it pays attention to people's "aesthetic anticipating view" and shows great care for readers. |
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| Keywords: | classical poetry spirit with no trace aesthetic significance |
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