The change of expressing pattern in Chinese landscape poetry: from Hsieh Ling-yün to Wang Wei
|Keywords:||山水詩;謝靈運;王維;形似;含蓄;辭賦;landscape poetries;Hsieh Ling-yün;Wang Wei;description;implication;expression||Issue Date:||2008||Abstract:||
This doctoral dissertation aims to explore the establishment and development of the most important two types of aesthetics of Chinese landscape poetry: Hsieh Ling-yün’s aesthetics of ‘description’ and Wang Wei’s aesthetics of ‘implication’ and to access the process of transmission from aesthetics of description to the aesthetics of implication. The early landscape poetry before Hsieh Ling-yün’s were influenced by traditional rhapsody and Hsieh Ling-yün established the description of poetry itself. That means Hsieh Ling-yün created the aesthetics of description on the basis of the form of previous description and his own creativity. This aesthetics attempted to display the beauty of objects and to establish the well-regulated architectural natural space. Although Hsieh Ling-yün used the description to create the peak of Chinese landscape poetry, the landscape poetry was transformed by the followed poets. The description of landscape poetry did not always focus on the similarity of shapes but on the concern of lyrical self, or on admiration of the natural objects to display the interests and emotion on daily life, or on involving himself in the nature by expressing emotions, and then merged himself in natures.he development of landscape poetry in the high T’ang escaped from the traditional description/action and then reached the spirit of Chinese landscape by using implicit and simple brushworks. Wang Wei created the ‘aesthetics of implication’ which was the most significant and implicit form in Chinese landscape poetry. This form of aesthetics was the ultimate objective for those who were interested in pursuing the beauty of implication. The poets grasped the characteristics of objects and created another frontier. The poets expressed their emotions and feelings in this frontier and called the readers to experience themselves participating in the frontier and finally completed and created meaningful intention. Wang Wei used his own created landscape small pieces to display the descriptions of landscape and finally to accomplish the most vital creations in Chinese landscape poetry. This doctoral dissertation focuses on Wang Wei as a paradigm that his poetry was representing a generalization of Chinese landscape poetry and his works had the creative meanings. Wang Wei’s landscape poetry were seen as the most representative and significant poetry with the aesthetics of implication.
|Appears in Collections:||中國文學系|
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