皎然雙虛實對研究   免費試閱

Couple-concrete-abstract Antithesis of Jiao Ran

初唐到皎然提出對屬虛實問題，將傳統思想和審美的虛實觀運用於對偶，但唐人對屬論以形象的有形和無色為標準，考慮的是詩歌語詞所表現的形象，而不是一般的語言學及詞彙學。皎然提出景、風、心、色等，可以對虛，亦可以對實，發展了初唐的異類對，考慮的是創作實踐中虛實對屬的複雜情況和詩歌抒情寫意的需要，也與強調氣格、自然及詩意的文學思想有關。皎然提出雙虛實對，吸收了當句對的某些特點，有著互成對的某種啟示。從創作實踐看，從初唐到皎然，人們對這一對屬形式經歷了朦朧認識到有意探求的過程，皎然提出雙虛實對，可以看作是這種自覺探求的規範和總結。

From the early Tang period to Jiao Ran, the concrete-abstract antithesis was raised, placing the concrete-abstract concept of aesthetics and traditional thought in the antithesis of a poem. However, its standard in Tang was the visibility of an image and the invisibility of color, which they thought was the image that was expressed by poetic language and not the lexicology from linguistics in the common sense. Jiao Ran held the view that scenery, wind, emotion, and color can be paralleled by the abstract or concrete. This further developed the different species antithesis of the early Tang period. It considered the complex situation of a concrete-abstract antithesis in the practice of writing poems and the need of the expression of emotions. Meanwhile it had relation with the literature thought of admiring sublime, naturality, and the poetic quality of flavor. Jiao Ran’s concreteabstract antithesis absorbed certain characteristics of the one-sentence antithesis, and was inspired by the mutual antithesis. From the aspect of writing practice, a process exists to realize this form of antithesis from a dimly understanding to a conscious exploration from the early Tang period to Jiao Ran. The raising of the concrete-abstract antithesis by Jiao Ran can be considered as the regulation and summary of the conscious exploration.