其他篇名 Alternative Title
The generating and applying contexts of xu (emptiness) and shi (substance)
摘要 Abstract
“虛實”是中國古代文藝理論的重要範疇。“虛”“實”各有多重義項，“虛”之“空虛”“虛假”義與“實”之“充實”“真實”義並置，便生成“虛實”這個二元對立的範疇。“虛實”語義的形成源自先秦兩漢時期諸子對宇宙人生、天道人道的論述，其中儒家“充實之謂美”與道家“致虚極，守静篤”影響最大。應用到文藝理論中，作爲創作方法，“虛實”主要指虚字與實字、虚句與實句的不同作用，虛寫與實寫的表現手法以及虚構與實録的創作方式；作爲作品風格,“虛實”分别指向“空靈”和“質實”等多種文風，涵蓋詩、詞、小説、戲曲以及繪畫、書法等文學藝術類型。
Xu and shi are two important concepts in ancient Chinese literary theory, both of which have multiple meanings. The juxtaposition of xu as “emptiness” and “unreal” with shi as “substance” and “true” creates the binary opposition of xushi as a literary concept. This concept originated from the scholars’ discussions on the universe, life, and the ways of nature during the pre-Qin and Han periods. Confucians pointed out that “substance is called beauty;” and Taoists believed that “reaching the extremity of emptiness to maintain tranquility.” After being applied to literary theory, the philosophical concept transformed to be a creative method and a literary style. As creative methods, xushi refers to the choice of function and content words and sentences. It also refers to the choice of fictionalizing and documenting. As literary styles, xushi indicates various critical standards such as “intangible” and “substantial,” which can be used in evaluating poems, ci song lyrics, fictions, dramas, paintings, calligraphy and other artistic forms.
關鍵詞 Keywords
虛實, 充實, 虛静, 空靈, 質實, Emptiness and substance, fill-up, emptiness and tranquility, empty and numinous, density
語言 Language
Chinese (Traditional)
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香港嶺南大學中文系(編)，上海古籍出版社(出版)
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參考書目格式 Recommended Citation
劉曉軍、姜俵容 (2024)。“虚實”範疇的生成語境與應用場景。《嶺南學報》，復刊 第二十二輯，頁173-192。檢自 https://commons.ln.edu.hk/ljcs_new/vol22/iss1/10