作　　者： (汪文学）;

机构地区： 贵州民族大学文学院,贵州贵阳550025

出　　处： 《贵州工程应用技术学院学报》 2017年第4期84-94,共11页

摘　　要： 魏晋六朝诗学之发展可分为二派:一是以曹植—陆机—颜延之为轴心的以"错彩镂金"为特色的保守派,二是以王粲—潘岳—谢灵运为轴心的以"清水芙蓉"为特色的创新派。大体上讲,曹植、陆机和颜延之一派受儒家思想影响较深,故在创作上,情兼雅怨,体被文质,以气骨取胜,以古朴浑厚为美,有繁芜、渊深、雅致的特点,较多地保存了汉魏古诗的传统,体现出一种"错彩镂金"之美,属于守旧的一派。王粲、潘岳和谢灵运一派,虽未以玄学名家,但皆是玄学风气中人,受玄学影响较深,故在文学创作上,崇尚自然清越、便娟婉约,以浅净、清秀为美,基本上摆脱了汉魏古诗的传统,体现出一种"清水芙蓉"的文学风格,属于创新的一派。 The development of poetry theory in Weijin six dynasties can be divided into two schools, one is the conservative with Cao Zhi, Lu Ji and Yan Yan as the center in the characteristic of carved elaboration and colorful embellishment, the another one is the innovative with Wang Can, Pan Yue and Xie Lingyun as the center in the characteristic of simple clearness. In general, the first school is deeply influenced by Confucian- ism, in creation, emotion with elegance, style with nature, it wins in moral feature, showing the primitive sim- plicity, with a wordy, profound and elegant feature, keeping the tradition of ancient Han-wei poem and reflect- ing a beauty of carved elaboration and colorful embellishment. The another one is innovative, deeply influ- enced by metaphysics, in literature creation, it advocates natural clearness and gracefulness, with the simple and clear beauty, basically getting rid of the tradition of ancient Han-wei poem, reflecting a simple clearness literature style.

关 键 词： 魏晋六朝 诗学 保守 创新