【作者】 张甲子；

【导师】 曹胜高；

【作者基本信息】 东北师范大学 ， 中国古代文学， 2013， 博士

【摘要】 第一章，将“清浊”观念与士人的审美趣味、诗歌的情感基调、艺术风貌等相联系，说明“清”超越“浊”，或者说是先放弃了“浊”的观念，再推崇“清”的观念，获得了艺术的至高格调。在这其中，无论是儒家的“清丽”说，道家的“清虚”说，还是佛教的“清空“说，莫不如此。加之曹丕提出的“气之清浊有体”、陆机的“沿浊得清”、陆云的“清省”等，还包括在钟嵘的《诗品》中，有目标一致的对“清”的明确倡导，从选辞、描景、含情与造境等方面，强化了诗歌对“清”美认同的趋势。第二章，关于“隐秀”。一方面，“隐”的意义来自于对经之隐的发挥，刘勰在《文心雕龙》中，曾列出十数种不同角度的命题，并逐一加以阐释，说明“隐”这种微妙的艺术表达原则。另一方面，对“秀”的观念的推崇，成为南朝诗歌审美风尚的转折点，也就是在对“秀句”、“秀象”、“秀境”的主观追求中，形成了迥异于汉魏古诗的新诗风。南朝诗正是经过“隐秀”观念的打磨，才能更为圆融的去处理诗歌情理内敛与境象外露的关系，并在初唐近百年的继续努力下，到二张时渐成兴象玲珑、句意深婉的唐音，亦步亦趋的定型为诗歌的审美共识。第三章，两晋代际的文风在“自然”观念的浸润下，出现了明显转变。汉人所论的“自然”多属于天人感应学说，魏晋玄学则将其转变为“自然之理”，认为“自然”便是宇宙万物本身之理，人可以与“自然”同构，文学艺术也若如此。有这样的观念导引，在东晋后，玄言诗与山水诗便渐次而起。尤其是将山水视为自然现实的最佳代表，“形似”观念遂成为山水诗、画的固定表达范式。与此同时在唐宋文论中，“自然”也被视为创作精神，既为文之道，也是文之理，体现于中古文学的发展过程中。更多还原

【Abstract】 The first chapter. With the relations between limpid-turbid and aesthetic interest, lyricmood, artistic style, and features aesthetic realm etc, it has proved the limpid transcend theturbid, perhaps earlier the limpid withdrawal the turbid, further caused that the formerobtain supreme artistic style. In this process, not only the emphasis of limpid-gorgeous ofconfucian, and the limpid-illusory of taoist, but also the limpid-emptiness of buddhism,these three has so. Cao Pi’s “Qi has its normative form of limpid-turbid”, Lu Ji’s “movingwith turbid gives renewed limpid”, Lu Yun’s “limpid namely delete some unnecessarymiscellaneous”, and in Zhong Rong’s grades of poetry, in order to clear advocate thelimpid and get to a common objective. Meanwhile, in poetry and form select vocabulary,describe scenery, implicate emotion, and construction of the artistic, these has strengthenedthe trend of aesthetic identity of limpid in mediaeval times.The second chapter, about “metaphor-indication”. The meaning of metaphor has fromthe explanatory system of the thirteen confucian canons. In Liu Xie’s The Literary Mindand Carving of Dragons, these have dozens of proposition from different angles, andexplain one by one, common proved that metaphor as subtle principle of artistic expression.Indication is the turning point of aesthetic fashion of poetry in southern dynasties, with thesubjective seek to “sentence indication”,“image indication”,“indication of artisticconception”, has formed the new poetry which different from poetry in hand and weidynasties. In southern dynasties, the poetry has get through “metaphor-indication”, inharmony disposed relations between the emotional implication and image indication, withthe effort in early tang dynasty, until the transformation of tang style, which marked by theingeniously and delicately image, and the euphemistic implication, follow by stereotype ofaesthetic consensus at every step.The third chapter. In the influence of idea of nature, it has evident change literaturestyle among western jin and eastern jin dynasties. In han dynasty, the nature has one part oftelepathy between heaven and man, however, it has change to the theory of nature inmetaphysics of wei and jin dynasties, namely because it come from universal order, andhave features of isomorphism which between nature and man and literature and art. Withthe guidance of that consciousness, there have the metaphysics poetry and landscape poetry.Especially, scholars consider that landscape poetry equate to the dependence of real society,the idea of “realistic imitation” became the stationary expression pattern of landscape poetry and picture. At the same time, nature deemed as creation spirit, not only the view ofliterature, but also the theory of literature, that reflected in the development process ofliterature in mediaeval times.更多还原