從“感物”到“體物”——晉宋詩學的重要發展

From the Emotional Caused By Scenery to Scenery Description — An Important Development of Poetics of Jin and Song Dynasty

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

體物寫景是詩歌藝術一個重要的功能，就整個傳統詩歌史來看，“體物”詩學在元嘉時期才真正地確立起來。從漢魏晉詩歌以自然景物爲引發情感的媒介的“感物”詩學，到元嘉山水詩以自然景物爲審美客體的“體物”詩學，這是傳統詩學的一個重要發展，體現了詩歌寫作藝術的新變及詩歌表現範疇的拓展。“感物”到“體物”這一詩學發展過程是相當複雜的，與魏晉南北朝自然觀的變化密切相關。在玄學和佛學的影響下，東晉人擺脱了天人感應的束縛，確立了具有現代意義的新自然觀，這一點爲“體物”詩學的確立奠定了思想基礎。慧遠由佛教“形神論”發展出的“形象本體”之學，則成爲“體物”詩學的美學思想淵源，促進了傳統詩學的重要發展。

From analysis of the entire history of traditional poetry, the art of scenery description develops maturely until Yuanjia period. The art develop from the emotional caused by scenery to scenery description, is an important development of poetics. This development of poetics is very complex. The development is closely related to the changes in the concept of natural of Wei and Jin dynasty. Under the influence of Buddhism and metaphysics, new natural concept has been established in the Eastern Jin Dynasty. This is the ideological basis of scenery description. And the Buddhist ontology learning of Huiyuan, also had a significant impact on the arts.