| 古典诗歌创作“以无为有”的三种审美范型 |
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| 引用本文： | 涂承日.古典诗歌创作“以无为有”的三种审美范型[J].信阳师范学院学报(哲学社会科学版),2004,24(6):87-91. |
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| 作者姓名： | 涂承日 |
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| 作者单位： | 洛阳工业高等专科学校,社会科学系,河南,洛阳,471003 |
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| 摘 要： | 从宏观的视角来考察,古典诗歌创作"以无为有"的审美内涵并不局限于言、意关系上的"无辞有意",其审美范型主要表现在三个方面:"无言而妙"、"无迹而神"和"无理愈佳"。
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| 关 键 词： | 古典诗歌 以无为有 审美范型 |
| 文章编号： | 1003-0964(2004)06-0087-05 |
| 修稿时间： | 2004年7月12日 |
Three aesthetic patterns of"Taking nil as existence"in creation of classical poetry |
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| TU Cheng-ri.Three aesthetic patterns of"Taking nil as existence"in creation of classical poetry[J].Journal of Xinyang Teachers College(Philosophy and Social Sciences Edition),2004,24(6):87-91. |
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| Authors: | TU Cheng-ri |
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| Abstract: | To investigate the creation of classical poetry from the macroscopic angle, the aesthetic intension of "taking nil as existence" is not confined to "no wrds but meaning implied" on the relation of words and ideas. The aesthetic pattern is mainly shown in the following three aspects: "no words but wonderful", "Inisibility but magical" and "no reason but better". |
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| Keywords: | classical poetry taking nil as existence aesthetic pattern |
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