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山水詩
Landscape Poetry
一種以描寫山水名勝為主要題材的詩歌流派。主要摹寫自然山川的秀美壯麗并借以抒發(fā)閑情逸致，特點(diǎn)是寫景狀物逼真細(xì)致，語言表達(dá)富麗清新。東晉時(shí)期，南渡的士大夫在自然山水中尋求精神撫慰和解脫，激發(fā)了山水詩創(chuàng)作的靈感。其開創(chuàng)者是晉末宋初的大詩人謝靈運(yùn)，他把自然美景引入詩歌創(chuàng)作，將詩歌從枯燥乏味的玄理中解放出來，后經(jīng)謝朓（tiǎo）、何遜、陰鏗等人的創(chuàng)作實(shí)踐而逐步成為詩歌史上的一個(gè)重要詩派。到唐代特別是盛唐時(shí)期，山水詩的創(chuàng)作更是蔚為大觀，涌現(xiàn)出王維、孟浩然等著名山水詩人，中唐時(shí)期的劉長(zhǎng)卿、韋應(yīng)物、柳宗元等人的創(chuàng)作也有特色。山水詩開啟了新的詩歌風(fēng)貌，標(biāo)志著一種新的審美觀念的產(chǎn)生。
Landscape poetry, as the name suggests, describes the beauty and charm of natural scenery, and landscape poets express their emotions through extolling the enchanting scenery. Landscape poetry is characterized by vivid description of sights with rich and refreshing language. During the Eastern Jin Dynasty, scholars who had fled war-torn homes in the north sought solace and escape in nature in the south, and this found expression in poetic descriptions of mountain and river scenes. Xie Lingyun, a great poet of the late Eastern Jin and early Song Dynasty of the Southern Dynasties, created this poetic style. He introduced the depiction of natural beauty into poetry writing, freeing poetry from bland and insipid moral preaching. Further developed by Xie Tiao, He Xun, Yin Keng, and others, landscape poetry became an important literary school. It gained prominence in the Tang Dynasty, especially in the prime of Tang, during which landscape poets like Wang Wei and Meng Haoran distinguished themselves. Mid-Tang poets including Liu Changqing, Wei Yingwu, and Liu Zongyuan also became famous for writing landscape poems. This gave rise to a new form of expression in poetry and a new trend of aesthetic appreciation.
引例 Citation：
◎宋初文詠，體有因革。莊老告退，而山水方滋；儷采百字之偶，爭(zhēng)價(jià)一句之奇，情必極貌以寫物，辭必窮力而追新，此近世之所競(jìng)也。（劉勰《文心雕龍·明詩》）
南朝宋初期的詩文，風(fēng)格上有繼承有變革，表現(xiàn)老莊思想的玄言詩退出詩壇，而山水詩正在崛起；文人用數(shù)百字的駢偶堆砌辭藻，為了某一句的新奇而攀比爭(zhēng)勝，描繪外物務(wù)求窮形極勝，遣詞造句必定竭力追求新異，這就是近代人們所競(jìng)相追逐的目標(biāo)。
The literature and poetry of the early Song Dynasty of the Southern Dynasties saw some changing trends: metaphysical poetry implicating Laozi and Zhuangzi's thoughts declined and landscape poetry gained in popularity. Poets sometimes used a few hundred words of parallel prose just to describe a scene, or competed with each other in writing an unusual line. In describing scenes, they tried to depict every detail; in composing a literary work, they racked their brains to achieve what is unusual. This has become the current trend in literary writing. (Liu Xie: The Literary Mind and the Carving of Dragons)
推薦：教育部 國(guó)家語委
供稿：北京外國(guó)語大學(xué) 外語教學(xué)與研究出版社
責(zé)任編輯：錢耐安
