qíngjǐng 情景 – Chinese philosophy and culture

qíngjǐng 情景

Sentiment and Scenery

指文学作品中摹写景物与抒发情感的相互依存和有机融合。“情”指作者内心的情感,“景”为外界景物。情景理论强调二者的交融,情无景不立,景无情不美。是宋代以后出现的文学术语,相对于早期的情物观念,情景理论更加重视景物摹写与情感抒发、创作与鉴赏过程的互相依赖与融为一体。

This term refers to the mutual dependence and integration of an author’s description of scenery and objects, and his expression of feelings in his literary creation. Qing (情) is an author’s inner feelings, and jing (景) refers to external scenery or an object. The theory of sentiment and scenery stresses integration of the two, maintaining that sentiment can hardly be aroused without scenery and that scenery or an object cannot be appreciated without sentiment. This term appeared in the Song Dynasty. Compared with earlier notions about sentiment and scenery, this one is more emphatic about fusing the depiction of scenery with the expression of feelings, and the process of creation with that of appreciation.

引例 Citations:

◎景无情不发,情无景不生。(范晞文《对床夜语》卷二)

(景物若没有情感的注入就不会出现在诗歌中,情感若没有景物的衬托就无从生发。)

Scenery has no place in poetry unless there are feelings for it; feelings cannot be stirred without the inspiration of scenery. (Fan Xiwen: Midnight Dialogues Across Two Beds)

◎情景名为二,而实不可离。神于诗者,妙合无垠。巧者则有情中景、景中情。(王夫之《姜斋诗话》卷下)

(情与景虽然名称上为二,但实际上不可分离。善于作诗的人,二者融合巧妙,看不出界限。构思精巧的则会有情中景、景中情。)

Sentiment and scenery seem to be two distinct things, but in fact they cannot be separated. A good poet knows how to integrate them seamlessly. An ingenious combination of sentiment and scenery means scenery embedded in sentiment and vice versa. (Wang Fuzhi: Desultory Remarks on Poetry from Ginger Studio)

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