摘要
唐代文论"自然"范畴的内涵可以从美学追求、创作论和风格论的角度予以概括。美学追求方面,以浑然天成为特征的自然美是唐人最高的美学追求;创作论方面,唐人以"起于无作,兴于自然"为理想的创作状态,并认识到"自然"并不排斥技巧,不排斥构思创作中艰苦卓绝的锤炼;风格论方面,唐人以为,"自然"是一种以"不露造迹"为主要特征且容涵"绮丽"、"怪奇"、"平淡"的诗文风格。文论史上,唐人首次将"道"与"技"联系起来论述,认识到构思创作中的锤炼是作品"自然"风貌和自然浑成之美的产生基础,肯定了"人为",丰富了"自然"的内涵。这标志着唐人走出了六朝文论的思辨氛围,开始关注操作层面的具体问题,这是"自然"理论的一次"转向",这一"转向"在很大程度上决定了后世"自然"理论的讨论范围与体系建构。
“Nature” of literary theory in Tang Dynasty can be summarized into three aspects ：aesthetics ,crea‐tion and style theory .In Tang Dynasty ,the natural beauty with the feature of integral and indivisible was the highest esthetical pursuit ;“creating spontaneously without any intention”was the ideal state in terms of crea‐tion ,and “concealing and unrevealing the polished marks” was the main feature ,while “intricate beauty” ,“strange” and“limpidity” were included in the style theory .They realized that “nature” did not exclude the writing skills and sedulous polishing in conception and creation .People of Tang Dynasty linked“Dao”to“tech‐nique”for the first time in literary history and realized that polishing was the foundation of the“natural”style . They affirmed the value of“human touch”and enriched the connotation of“nature” .The above theory symbol‐ized that people of Tang Dynasty came out of the speculative atmosphere of the Six Dynasties and began to fo‐cus on specific issues of operation ,which was a“turning”in“nature” theory that greatly determined the scope of discussion and the construction of the system of the later“nature” theory .
出处
《大连理工大学学报（社会科学版）》
CSSCI
2015年第1期125-130,共6页
Journal of Dalian University of Technology(Social Sciences)
基金
国家社会科学基金项目:"晚唐五代诗格研究"(10CZW024)
关键词
唐代文论
自然
不露造迹
怪奇
平淡
literary theory in Tang Dynasty
nature
concealing and unrevealing the polished marks
strange
limpidity
作者简介
李江峰（1978-），男，甘肃正宁人，副教授．主要从事中国诗学研究，（E—mail：jiangfengli2005@163．com）。
