《抱朴子》美学思想评析

魏晋时代是美学思想鼎盛的时期。当人们把多数的目光聚焦于《论衡》、《典论》、《文赋》等倍受后世瞩目的著作时,却往往忽略了同处于这一时代的葛洪的代表作品《抱朴子》。从美学鉴赏的角度来说,《抱朴子》是一部非常有影响有价值的美学著作,尤其是《外篇》。葛洪的美学思想上承《淮南子》、《论衡》,下启《文心雕龙》,在魏晋美学思想发展史上有着承上启下的重要作用及意义。他的美学思想主要集中在两大方面,一是谈美,二是谈文学作品中的美。这两大部分实质上有着千丝万缕的联系:前者对于后者有着指导性的意义,而后者作为具体实践的例子印证了前者。为了叙述的方便,本文将这两大方面分别独立论述,并非完全隔离之意。

A Review on Aesthetic Thoughts in Bao Puzi

In Weijin Dynasty, aesthetics was at the height of power and splendor. People always trended to neglect the representative literature Bao Puzi of Ge Hong, while most of them focused on the well-known ones such as Lun Heng, Dian Lun, Wen Fu and so on. From the angle of aesthetics appreciation, Bao Puzi was an aesthetics literature, which is full of impact, especially its Wai Pian. Aesthetics thoughts of Ge Hong would be a connecting link between the preceding Huai Naizi, Lun Heng and the following Wen Xin Diao Long, his thought in aesthetics mainly concentrated on two parts, one was theory of beauty, and the other was aesthetics of literature. Between both, actually, there are plenty of connections. For the convenient of narration, this article will discuss both of them individually, but not separately.