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杨巍"神韵"的泛化与王士禛"神韵"的聚焦OACHSSCD

The Transformation of Shenyun:From Yang Wei's Broad Conception to Wang Shizhen's Focused Poetics

中文摘要英文摘要

在王士禛提出"神韵说"之前,明代诗人杨巍的文学创作中就已经出现了泛化的"神韵"现象."神韵"广泛存在于杨巍诗歌的诸种题材之中,并与其人格情怀融为一体.清初,王士禛对杨巍寄予一瓣心香,其中虽有桑梓情怀,但更多还是因为杨氏之"神韵清隽"与其论诗宗旨相近.王士禛集历代之大成,标举"神韵说",首次正式将"神韵"聚焦于山水自然题材,以"清远"定调"神韵"诗风,强调人对自然的审美超越,为"神韵说"立下更加严格、清晰的定义.

"Shenyun"widely exists in various themes of Yang Wei's poetry and is integrated with his personality and emotions.In the early Qing Dynasty,Wang Shizhen held Yang Wei in sincere admiration,which was partly shaped by their shared native-place sentiment.However,it was more because Yang Wei's fresh and elegant writings was similar to his poetic philosophy.Drawing on the achievements of earlier literary tra-ditions,Wang Shizhen advocated the theory of"Shenyun"For the first time,Wang officially focused on the theme of mountains,rivers,and na-ture,defining the poetic style of"Shenyun"in terms of"clarity and remoteness,"emphasizing the aesthetic transcendence of human beings to-wards nature,and providing a more rigorous and clear definition of"Shenyun theory".

谭金波

西北大学 文学院,陕西 西安 710127

社会科学

神韵杨巍王士禛泛化聚焦

ShenyunYang WeiWang Shizhengeneralizationfocus

《安庆师范大学学报(社会科学版)》 2026 (3)

40-46,7

国家社会科学基金项目"山左作家与明代文学思潮的嬗变研究"(21BZW198).

10.13757/j.cnki.cn34-1329/c.2026.03.006

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