汉代以来比兴艺术思维的发展演变

赋、比、兴经过汉以前三个发展阶段,至汉代终于从感性的巫术、宗教仪式中分化、独立出来,开始了其作为艺术思维方式的发展历程,但汉人从修辞手法或诗歌表现手法着眼,混同比、兴,其所谓兴,实即是比;唐人合比、兴为一词,重视的是诗歌讽谕性的内容.因而,他们对比兴思维的艺术审美特征,都还缺少明确的认识.明、清以降,比兴艺术思维的自觉和深化呈现为三个明显的演进阶段,即陈沆、张惠言等人以比为重心、重情意与形象相融的比兴观,周济、谭献和陈廷焯等比兴兼重的比兴观,及况周颐为代表的以兴为重心的比兴观.从中可以看出,越到后来,比兴艺术思维的艺术美学特征越得到了完美的显现.

On the Development of Bixing Art Thought from Han Dynasty

After the former three developing stages before Han dynasty, narration , comparison and bixing differentiated from the sensile necromancy and religious rituals at last and began its developing history as a way of thought. But Han's scholars confused comparison and bixing concerning rhetoric skills or poem expr essing techniques. Actually, their so called bixing was comparison. After Tang d ynasty, comparison and bixing were fused into one word which emphasized on the p oem's expostulation content. By Ming and Qing dynasty, the development of bixing art thought came into a more self conscious era and showed three obvious develo ping stages, that is, the scholars such as Chen Hang and Zhang Huyan's bixing vi ew emphasizing comparison and the harmony of emotions and scenery, Zhou Ji, Tan Xian and Chen Tingzhao's view that balancing comparison and bixing, and Kuang Zh ouyi's view emphasizing bixing. From it can we find that bixing art thought's ae sthetic characteristic were appearing more perfectly as time goes by.