摘要
有关《文心雕龙》的文学地理学阐论向来强调,刘勰立足尊儒弘道的北方文化传统而制衡雕文镂采的南方美文思潮。该阐论框架基于北质南文的文学地理图景,主张北方尚贞质实义,异乎南方尚绮文丽章。然而这与刘勰的北方观本身存在偏差。一方面,刘勰文章学承继了北地的儒家礼乐文脉,正如“执丹漆之礼器,随仲尼而南行”之梦所示,刘勰以显诸“丹漆”文采的“美文”性理解礼乐文化,反映对北方礼乐人文“尽美”维度的承续。另一方面,为适应南方新兴的文学审美思潮,刘勰以文学化方式重读代表北方正统文化的儒经,凭骈文美学眼光再现儒经之“含文”。以上表明刘勰的“北方”远非质而无采,倚仗北质南文之二元固化模式的《文心雕龙》文学地理学批评有待重审。
The literary geography interpretation of Literary Mind and Carved Dragon has always emphasized that Liu is based on the northern cultural tradition of respecting Confucianism and promoting Tao while balancing the southern aesthetic literary trend of carving rhetoric.This explanatory framework depends upon the literary geographical landscape of northern Zhi(substance)and southern Wen(form),advocating that the north upholds chaste quality and practical meaning,which differs from the south's emphasis on literary beauty.However this is a deviation from Liu's view of the north itself.On one hand,Liu's literary study inherits the Confucian culture of rites-music from the northern region.As shown in his dream of“holding red-lacquered vessels of rites in hand,following Congfucius southward”,Liu understands the culture of ritesmusic through the“decorated beauty”presenting by red lacquer,reflecting his inheritation of the“perfectly beautiful”dimension of northern rites-music pattern.On the other hand,in order to adapt to the emerging literary aesthetic trend in the south,Liu rereads the Confucian canons standing for the northern orthodox culture in a literary way,and represents the literariness contained in the Confucian canons from the aesthetic perspective of parallel prose.The above indicates that Liu's“north”is far from unadorned substance,and the literary geography criticism of Literary Mind and Carved Dragon,which relies on the binary solidified model of northern Zhi and southern Wen,needs to be reexamined.
出处
《古代文学理论研究》
2023年第2期230-251,共22页
Studies of Ancient Chinese Literary Theory
关键词
《文心雕龙》
文学地理学
南北
文质
Literary Mind and Carved Dragon
literary geography
south and north
Wen and Zhi
