【摘要】：本文試圖勾勒出先秦至唐代山水自然美觀念變化的歷史流程與美學(xué)指向，并在此背景上澄清山水文學(xué)形成發(fā)展過(guò)程中的一些重要理論問(wèn)題。作者認(rèn)為，中國(guó)藝術(shù)中對(duì)自然的認(rèn)識(shí)，從先秦歷晉宋再到唐代，經(jīng)過(guò)了正、反、合三個(gè)階段。作者側(cè)重運(yùn)用縱向比較的方法，指出從晉宋到唐代山水自然美觀念的變化，，主要表現(xiàn)為：由滿足自然景物的外在形式，到探究山水的內(nèi)在意蘊(yùn)與意趣；由物我并峙．轉(zhuǎn)變?yōu)槲镂医蝗�，情景合一；就美感認(rèn)識(shí)層次而言，由屬耳流目，極視聽(tīng)之娛，上升為怡神悅志，通過(guò)禮贊自然，獲得對(duì)宇宙人生的審美頓悟。
[Abstract]:This paper attempts to outline the historical process and aesthetic direction of the change of the concept of natural beauty of mountains and rivers from the pre-Qin Dynasty to the Tang Dynasty, and to clarify some important theoretical issues in the process of the formation and development of landscape literature. The author believes that the understanding of nature in Chinese art, from the pre-Qin Jin and Song dynasties to the Tang Dynasty, has gone through three stages: positive, negative and integrated. By using the method of vertical comparison, the author points out that the changes of the concept of natural beauty of mountains and rivers from Jin and Song dynasties to Tang Dynasty are mainly manifested in the following aspects: from satisfying the external form of natural scenery to exploring the internal meaning and interest of mountains and rivers, from the combination of things and self to the blending of things and self, and the unity of situations. As far as the level of aesthetic cognition is concerned, the aesthetic insight into the aesthetic enlightenment of the universe life can be obtained from the ear to the eye and the extreme audio-visual entertainment to the pleasing spirit of the god and the spirit, and through the praise of nature.
【分類號(hào)】：B83

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