生态美学视野下的王维诗歌意象研究

发布时间：2018-03-19 17:23

本文选题：王维　切入点：诗歌　出处：《济南大学》2017年硕士论文　论文类型：学位论文

【摘要】：王维是唐代的著名诗人,其诗歌题材多样,内涵丰富,对后世影响深远,目前学界对王维诗歌的研究成果颇多,但对其代表性意象的生态审美意蕴研究成果相对较少。本文参照陈铁民的《王维诗注》,对王维的诗歌意象进行了大体统计,以出现次数较多的“山”、“水”、“门”、“云”、“鸟”、“花”六个意象为切入点,探究其生态审美意蕴。本论文分为六部分:绪论部分阐述本论文的研究目的、研究意义、研究现状、研究的合理性和研究依据。第一章通过探究儒家、道家、佛教思想中蕴含的生态智慧,探析王维生态思想意识的渊源。儒家、道家、佛教思想的融合对王维产生了深远的影响,蕴含着尊重自然,人与人、人与自然万物和谐相处的生态审美智慧,这种生态审美智慧对王维思想的渗入,使其诗歌中有着丰富的生态审美意蕴。第二章分析王维诗歌中的“山”、“门”、“花”三个静态意象。“山”、“门”、“花”作为静态的意象,被王维赋予了丰富的内涵。第一,在“山”意象中,“春山”意象呈现的秀丽清静和“秋山”意象呈现的明净苍寥,均指向自然生态的存在之美,蕴含着自然万物相谐相和的整体存在思想;王维又以“青山”、“东山”、“南山”和“空山”意象表现向往之情、惬意之感、安身之乐和澄明之境,寄寓着人与自然相协调的诗意栖居观念。其中,“青山”意象在王维和善用并多用“青山”来抒情写意的同时代诗人刘长卿那里有着明显不同,王维诗歌中表现的多是诗人的热爱和向往之情,是对诗意生活的追寻,刘长卿诗歌中虽也有的表现了诗人的向往之情,但更多的则是以“青山”来表现离别,寄寓着离别后的漫漫前路,而不是诗意栖居观的展现。第二,在“门”意象中,“衡门”、“荆扉”、“柴门”意象蕴含了诗人简单朴实的现实家园意识,“闲门”、“闭门”意象蕴含着王维向往闲静,远离世俗的精神家园情怀。其中,“衡门”、“荆扉”、“柴门”意象在王维和杜甫的诗歌中存有一定差异,王维诗歌中表现的是一种简单生活的自足之乐,杜甫诗歌中则表现了生活环境的艰辛,有着沉郁之感。第三,在“花”意象中,“花鸟”、“桃花”、“野花”等意象突出了大自然的勃勃生机与活力,蕴含着王维的生命美学思想,“荷花”和“落花”则体现了王维淡泊无染的人生观和圆融永恒的生命观,从而表现出王维无欲无染的生态审美本性。第三章分析王维诗歌中的“水”、“云”、“鸟”三个动态意象。“水”、“云”、“鸟”意象作为动态的意象,更突出了动中之静,动静一体,因此也蕴含着丰富的生态审美智慧。第一,在“水”意象中,“江河”的辽阔和“瀑水”的浩大,呈现了大自然的生生之美以及人对自然万物的敬畏之心,“水”意象所表现的人与人、人与水之间的关系,蕴含着王维的平等意识和物我互通的境界,而且“水”意象还蕴含着王维自在的心境和生活的适意,这与孟浩然诗歌中“水”意象表现的孤单、失意之感有着明显不同。第二,“云”意象中,“浮云”的漂浮有着阻隔尘世的意味象征着王维的超脱尘世,“白云”的自由不拘唤起了诗人王维自由灵动的情怀,这易于让王维与自然融为一体;白云飘散,一切显得遥远渺茫,又寄寓着王维与友人的深厚情谊,蕴含着相依共生的生态审美意识。第三,在“鸟”意象中,鸟的活泼灵动建构了恬静宁谧的田园世界,王维与境相谐,与鸟相亲,蕴含着人与自然万物相亲和的生态理想;另外,“啼鸟”意象和“归鸟”意象则寄寓了诗人心境的回归和自我的回归,蕴含着人归于自然的生态本源意识。值得关注的是,王维诗歌中的“归鸟”寄寓的是诗人的自我回归,不同于陶渊明诗歌所强调的倦鸟归林的疲倦之感。第四章由王维诗中出现最多的六个意象,概括出王维及其所代表的其他诗人的生态审美智慧,其中最突出的是王维对生活的生态审美自觉态度和诗意栖居的生态审美理想观。本章主要从整体的生态审美态度和诗意栖居的生活方式两个方面,分析王维诗歌中的这六个意象对当今社会的生态启示意义和审美价值。最后的结语部分对论文的主要观点进行总结。总之,通过分析王维诗歌中的“山”、“水”、“门”、“云”、“鸟”、“花”六个意象,我们可以发现其中蕴含着深厚的生态审美意蕴,这对当今社会的人们学会以整体的审美态度对待自然万物,追求诗意栖居的生活方式具有重要的生态启示意义,同时也能从生态美学的视野拓展王维诗歌研究的维面。
[Abstract]:Wang Wei is a famous poet of the Tang Dynasty, the poetry genre diversity, rich connotation and profound influence on the later generations, the current academic research on Wang Wei's poetry a lot, but the representative image of the ecological aesthetic implication of little research results. According to Chen Tiemin's "Wang Weishi", the poetic image of Wang Wei's general statistics to appear more frequently, "mountain", "water", "door", "cloud", "bird", "flower" six images as the starting point to explore the ecological aesthetic implication. This thesis is divided into six parts: the introduction part expounds the research purpose, the research significance, research status quo. Reasonable basis and research study. The first chapter through the research of Confucian, Taoist ecological wisdom, contains the Buddhism, the origin of Wang Wei's ecological ideology. Confucianism, Taoism and Buddhism fusion have a profound influence on Wang Wei, contains a statue Nature, man and man, man and nature in harmony with the ecological aesthetic wisdom, infiltration of Wang Wei thought the ecological aesthetic wisdom, which has rich ecological aesthetic implication of the poetry. The second chapter is the analysis of Wang Wei's "mountain", "door", "flower" three static images. "Mountain", "door", "flower" as a static image, Wang Wei is endowed with rich connotations. First, in the "mountain" image, "present spring hill" image of the beautiful and quiet "Akiyama" image and Cang Liao, are pointing to the natural ecological existence of beauty, thought the whole contains nature and harmony; Wang Wei in "green hill", "East", "south" and "pure" images of yearning, feeling comfortable, safe and happy revealed, as people are in harmony with nature poetic concept. The "Castle" image In Wang Wei and the best use and the use of "green" to the lyric poet Liu Changqing at the same time there are obviously different, the performance of Wang Wei's poetry is the poet's love and yearning, is the pursuit of poetic life, although some of Liu Changqing's poetry expression of the poet's yearning, but more of it is is the "green hill" to express the parting, as after the departure of the darkness, and not the concept of poetic dwelling show. Second, in the "door" image, "Heng", "Jing Fei", "Chapman" image contains the poet simple reality home consciousness, "leisure", "a closed image contains Wang Wei longing for quiet, away from the secular spiritual home feeling. Among them, the" balance "," Jing Fei "," Chapman "images have certain differences in Wang Wei and Du Fu's poetry, the performance of Wang Wei's poetry is a kind of simple life the joy of self-sufficiency, In the poetry of Du Fu is the performance of the living environment of the hardships, with gloomy feeling. Third, in the "flower" imagery, "bird", "peach blossom", "flowers" and other images highlight the vitality of nature and vitality, contains Wang Weide's life aesthetics, "Lotus" and "flower" is reflected Wang Wei dye indifferent outlook on life and the harmony of eternal life view, which shows Wang Weiwu to dye the ecological aesthetic nature. The third chapter is the analysis of Wang Wei's "water", "cloud", "bird" three dynamic images. The "water", "cloud", "bird" image as a dynamic the image is more prominent in the static, dynamic development, it also contains rich ecological aesthetic wisdom. First, in the "water" image, "rivers" and "vast waterfall" vast, showing the nature of life and the beauty of human nature in awe," People water "image of the performance, the relationship between people and water, contains the realm of equality and Wang Wei I exchange, and" water "image also contains Wang Wei's comfortable mood and life enjoyable, and this" water "image in Meng Haoran's poetry performance alone, lost a sense of meaning there is a clear difference. Second. The image of" cloud "," cloud "floating with earthly barrier means the symbol of Wang Wei's otherworldly," white cloud "footloose aroused the poet Wang Wei freedom feelings, it is easy to let Wang Wei with nature; white clouds drift, everything seems distant, and his a deep friendship and a friend of Wang Wei, contains dependent symbiotic ecological aesthetic consciousness. In third, the bird image, the bird's lively construction of quiet tranquil pastoral world, Wang Wei and environmental harmony, and contains a bird blind, man and nature All the blind and the ecological ideal; in addition, the "bird" image and the "bird" image is placed with the poet mood and self regression regression, contains people attributed to the natural ecological consciousness. The source of concern is that the birds "embodied in Wang Wei's poetry" is the poet's self regression, different the emphasis on Tao Yuanming's poetry Lin Juanniao weariness. The fourth chapter by Wang Weishi in the six images most, summarizes other poet Wang Wei and the ecological aesthetic wisdom, of which the most prominent is the ecological aesthetic consciousness of Wang Wei's attitude towards life and poetic ecological aesthetic ideal view. Two this chapter mainly from the aspects of the overall ecological aesthetic attitude and poetic life, analysis of the ecological significance of the six images in Wang Wei's poems on social and aesthetic value. The last part of the The main points are summarized. In conclusion, through the analysis of Wang Wei's "mountain", "water", "door", "cloud", "bird", "flower" six images, we can find which contains profound ecological aesthetic implication, the modern society people learn to deal with the natural world the overall aesthetic attitude, has important ecological significance in pursuit of poetic life style, dimensions, but also can expand the research of Wang Wei's poetry from the perspective of eco aesthetics.

【学位授予单位】：济南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22

【参考文献】