Journal of Literary Writing and Evaluation
JLWE, Vol. 2, No. 1, 2026, pp.112-124.
Print ISSN: 3078-8129; Online ISSN: 3104-5073
Journal homepage: https://www.lwejournal.com
DOI: Https://doi.org/10.64058/jlwe260112spmgd
黎钰晖（Li Yuhui），邵 薇（Shao Wei）
摘要：痖弦的诗歌创作以“通感”为核心艺术手法，实现了对古典诗学传统的深度承袭与创造性转化。以痖弦的创作为本位，对通感从古典“感通”哲学到现代修辞学的谱系演变及痖弦的实践作知觉现象学的考察，可以发现，痖弦的通感实践不仅停留于修辞层面的感官“联觉”，而是抵达了通感所指涉的、经验与语言的关系——通感是感知秩序在语言中肉身化生成的艺术表现过程。《山神》是痖弦早年仿照何其芳《秋天》（二）一诗所写的习作，在《山神》这一通感实践的经典范例中，痖弦以听觉、视觉、触觉等多重感官的交互建构知觉场域，实现音乐性与视象性的高度融合，揭示感知经验通过语言显现的过程。痖弦以通感为媒介，连通古典意象、乡土记忆与现代汉语感知结构，在相互侵越、相互交织的语言张力中为经历过流散冲击的汉语重塑质感。痖弦的通感创作实践修复了白话诗的感知维度，更在文学史层面接续古今、融汇中西，为现代汉语诗歌开辟出一条天真而沉郁的诗意路径。
关键词：痖弦；《山神》；现代汉诗；通感；知觉现象学
作者简介：黎钰晖，广州大学人文学院硕士研究生，研究方向：比较文学与世界文学。电邮：jasmineterrace@163.com。邵薇（通讯作者），广州大学人文学院副教授，硕士生导师，研究方向为韩国现当代文学、中韩比较文学。电邮：shaowei@gzhu.edu.cn。
Title: Synaesthetic Practice in The Mountain God and the Dialogue between Classical and Modern Poetics: A Phenomenological Inquiry into Perception
Abstract: Synesthesia serves as one of the significant artistic techniques in Ya Xian’s poetry, enabling a profound inheritance of the classical poetic tradition while simultaneously achieving a creative transformation of it. Taking Ya Xian’s oeuvre as its focal point, this study examines the genealogical evolution of synesthesia, from the classical philosophy of affective resonance to modern rhetoric, alongside Ya Xian’s poetic practice through the lens of phenomenological aesthetics. It argues that Ya Xian’s use of synesthesia transcends mere sensory synesthesia at the rhetorical level, reaching instead toward the relationship between experience and language that synesthesia signifies synesthesia is the artistic unfolding through which perceptual order becomes incarnated in language. The Mountain God, an early work modeled after He Qifang’s Autumn (II), serves as a paradigmatic example of Ya Xian’s synesthetic practice. In this poem, Ya Xian constructs a perceptual field through the interplay of auditory, visual, and tactile senses, achieving a high degree of fusion between musicality and visual imagery, thereby revealing the process by which perceptual experience manifests through language. Using synesthesia as a medium, Ya Xian connects classical imagery, rural memory, and the perceptual structure of modern Chinese. Within the tense interplay of mutual infiltration and linguistic interweaving, he restores a tangible, textural quality to the Chinese language, a language that has undergone the shocks of diaspora. Ya Xian’s synesthetic practice not only to a certain extent, expands the perceptual expressiveness of modern Chinese poetry, but also at the level of literary history, bridges the ancient and the modern, integrates Chinese and Western traditions, and carves out an innocent yet profoundly melancholic poetic path for modern Chinese poetry.
Keywords: Ya Xian; the Mountain God; Modern Chinese poetry; Synesthesia; Phenomenology of Perception
Author Biographies: Li Yuhui, master’s Candidate at the School of Humanities, Guangzhou University, specializing in Comparative Literature and World Literature. Email: jasmineterrace@163.com.Shao Wei (Corresponding Author), associate Professor and Master’s Supervisor at the School of Humanities, Guangzhou University. Research interests include modern and contemporary Korean literature, and China-Korean comparative literature. Email: shaowei@gzhu.edu.cn.
Received: 08 Sep 2025 / Revised: 03 Nov 2025 / Accepted: 23 Apr 2026 / Published online: 30 Apr 2026 / Print published: 30 May 2026.
