本文選題：魏晉南北朝　切入點：文學(xué)理論　出處：《齊魯學(xué)刊》2017年04期

【摘要】："隱"和"顯"是中國古代詩歌的兩種審美形態(tài)。在外在形式上,"隱"是單純質(zhì)樸的,而"顯"是鮮明華麗的;在內(nèi)在意蘊上,"隱"是蘊含豐富深厚的,而"顯"是意義單純明確的。阮籍和陶淵明的作品表現(xiàn)出"隱"的特征,劉勰和鐘嶸則在理論上對"隱"的內(nèi)涵有所揭示,但魏晉南北朝時期的審美理想并不是"隱",而是顯性的"風(fēng)骨"、"風(fēng)力"。劉勰所說"隱秀"的主要意義相當(dāng)于"隱顯"。很多學(xué)者把"隱秀"理解成同一審美對象或同一作品的內(nèi)在意蘊和外在表現(xiàn),這是一種誤解。"隱"和"秀"指的是同一層面的兩個對象或兩種形態(tài),而不是是同一個對象的內(nèi)外兩個層面。也就是說,"隱"和"秀",指的是兩個審美對象或兩種作品的不同形態(tài)或特征。
[Abstract]:"Hidden" and "Xien" are two aesthetic forms of ancient Chinese poetry. In the external form, "Hidden" is simple and plain, while "Xien" is bright and gorgeous. The meaning of "Xian" is simple and clear. The works of Ruan Ji and Tao Yuanming show the characteristics of "hidden", while Liu Xie and Zhong Rong reveal the connotation of "hidden" in theory. But the aesthetic ideal of Wei, Jin, Southern and Northern dynasties is not "hidden", but explicit "wind strength" and "wind strength". Liu Xie said that the main meaning of "hidden show" is equivalent to "hidden show". Many scholars understand "hidden show" as the same aesthetic object. The inner meaning and external expression of the same work, This is a misunderstanding. "hidden" and "show" refer to two objects or two forms at the same level. In other words, "hidden" and "show" refer to the different forms or characteristics of two aesthetic objects or two kinds of works.
【作者單位】： 山東社會科學(xué)院文化研究所;
【基金】：山東社會科學(xué)院創(chuàng)新工程重大支撐項目“中國文化學(xué)”
【分類號】：I206.2

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