人們一向認為古代詩歌除了在形式上有所講究之外,是不甚講究其內在創作審美規則的。或者更確切地說,這種規則似乎潛移默化地存在于歷代的詩歌創作中,可一時又覺得很難從中總結、提煉出來。本文通過對唐詩文本的考察,加之參考歷代詩學家對唐代詩歌的認識與總結,認為以唐詩為代表的古代詩歌中的確存在有一個創作范式。這個范式大致可以命名為以"景"喻"情"的"無我"范式。把"我"隱喻到"景"中的創作范式出現在古詩中絕非偶然,它與古人那博大而雄渾的宇宙意識緊密相關。

It is usually believed that in classical Chinese poem writing,except on the form,there is little emphasis on internal aesthetic rules.Or rather,such rules are invisibly there,but simply defy any expedient attempt at summarization or generalization.Based on a textual examination of Tang poems and on critics’ diachronic observations about Tang poetry,the paper contends that in classical Chinese poem writing,there does exist an aesthetic rule which can be termed the paradigm of " ego absent" characterized by the representation of scenery as a metaphorical expression of feelings and emotions.The emergence of the scenery-as-feelings/emotions paradigm in classical Chinese poetry is closely associated with the profound Chinese cosmology of in ancient times.