作　　者： ;

机构地区： 中国社会科学院文学研究所

出　　处： 《中国社会科学》 2012年第3期129-148,207-208,共20页

摘　　要： 在厘清了"神韵"的语源及作为诗学概念的形成过程后,王渔洋的"神韵"说面临两个值得探讨的问题:王渔洋及其他诗论家是如何运用"神韵"概念并逐渐形成理论默契的;从艺术史的角度看,"神韵"具有什么样的艺术倾向。通过广泛考察后世批评家的用例,文章认为"神韵"只是与短诗和风景有关的审美概念。由王渔洋诗学的基本观念来考察"神韵",可以发现它具有呈示动机的偶然性、呈示方式的直观性、呈示对象的瞬间性、呈示特征的模糊性等特征。其相对应的审美反应则是自发的而非被动的,直觉的而非理性的,富有特征的而非全面的,有距离感的而非清晰逼真的。这种艺术特征,与艺术史上的印象主义有着本质上的相通,将两者的理论与实践相对照、比较,更容易看清神韵诗学的旨趣。 Having clarified the source of'shenyun'(romantic charm)and the process bywhich it took shape as a concept in poetics,two questions still remain to be discussed:first,how did Wang Yuyang and other poetry critics use the concept 'shenyun'and gradually arrive at a tacit theoretical agreement?And second,what is the artistic tendency of'shenyun'from the perspective of art history?Through extensive study of the term as used by later critics,we conclude that'shenyun'is simply an aesthetic concept relating to short poems and landscape.According to the basic ideas of Wang Yuyang's poetics,'shenyun'is characterized by chance impulses,directly perceived modes,ephemeral subjects and indistinct features.Accordingly,the corresponding aesthetic response is spontaneous rather than passive,intuitive rather than rational,rich in particularity rather than comprehensive and giving a sense of distance rather than of sharp verisimilitude.The artistic character of'shenyun'is essentially closely related to impressionism in art history.Comparing and contrasting the two at both the theoretical and the practical level may give us a better idea of the intent of'shenyun'poetics.

关 键 词： 王渔洋 神韵 审美内涵 艺术精神

领　　域： [文学]