浅析《二十四诗品》中的“诗性空间”及以此为基础的言说方式

摘要

中国艺术常借有形之物体察无形之“虚”，以探求无限开放的空间与充塞其中的生命之灵。此种以道家宇宙观为基础的“灵的空间”与《二十四诗品》所表现的“诗性空间”是相通的，后者包含了三个层面，即现象界、宇宙本体空间以及沟通这两者的“人”的精神空间，三者圆融共生，往返流动。物象由“无”而生，构成诗境，在实现“诗与境偕”的动态诗美之后，又返归于无，来往千载。以此种空间意识为基础，《二十四诗品》形成了“以诗论诗、诗画一体”的言说方式，而“论诗诗”又体现出了具有自我指涉特色的“解释的循环”。%To explore infinitely great and open space in which life and soul co-exist, Chinese traditional art conveys the in-tangible state of consciousness by describing tangible objects.This "space of the soul"based on Taoist cosmic outlook and the"poetic space"represented in the Twenty-four Poetic Styles are interlinked.The"space of poem"in the Twenty-four Po-etic Styles includes three related factors:the sensible world, the space of the universe, and the space of the human spirit. After realizing a harmonious relationship between a poem and artistic conception, the object images that embody artistic con-ception emerge from the"Wu"and eventually return there.Based on this Taoist consciousness of space, the ways of speak in the Twenty-four poetic styles explain poetic styles with poems, presenting a poetic argumentation that unifies poetry and painting and manifests a hermeneutic cycle with self-referential features.