摘要
中国早期象征诗派深受法国象征主义的影响早已成为学界共识,但该诗派的作品并非仅是法国象征主义影响下的产物,日本经过改良化的象征主义及中国传统文化内蕴均在不同程度影响了该诗派对于新诗色彩美及“纯粹诗歌”理念的追求。除外部文化因素影响外,中国早期象征派诗人们本身所具有的艺术家、诗人的双重身份也使得他们有意或无意地追求新诗的色彩美,并通过诗人和画家的双重视界将绘画艺术的表现形式和原则融入诗中,通过色彩来传达自己的艺术构思,使得新诗色彩美最终形成该诗派的一大诗歌特色。
It has long been recognized that the early Chinese symbolic poetry school was deeply influenced by French symbolism,but the works of this school were not only the product of the influence of French symbolism,but also the reformed symbolism of Japan and the connotation of Chinese traditional culture had different degrees of influence on the pursuit of the beauty of new poetry and the concept of“pure poetry”.In addition to the influence of external cultural factors,the dual identities of artists and poets of early Chinese symbolic poets also led them to pursuing the color beauty of new poems intentionally or unintentionally,and through the dual vision of poets and painters,the expression forms and principles of painting art were incorporated into poems,and their artistic ideas were conveyed through color.The color beauty of the new poetry eventually formed a major poetic feature of the school.
作者
蒋欢
JIANG Huan(College of Liberal Arts,Northwest University,Xi’an Shaanxi 710127)
出处
《牡丹江大学学报》
2024年第5期1-11,共11页
Journal of Mudanjiang University
关键词
中国早期象征诗派
多文化视野
色彩诗学
Chinese early symbolism poetry
multicultural vision
color the poetic
作者简介
蒋欢(1995-),女,安徽芜湖人,西北大学文学院博士研究生,研究方向:现代诗学。
