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高遠(yuǎn)古樸，高雅簡(jiǎn)古。用于文藝批評(píng)，主要指文藝作品中所體現(xiàn)出的意蘊(yùn)高遠(yuǎn)古樸、情致高雅，凝重而又深具歷史感的藝術(shù)風(fēng)格?！案摺斌w現(xiàn)對(duì)空間的超越，不落于現(xiàn)實(shí)的具體事物，思想、情感和意愿超然時(shí)事和世俗之外；“古”體現(xiàn)對(duì)時(shí)間的超越，神馳于久遠(yuǎn)的歷史，有拙樸、古雅、凝重的意蘊(yùn)?！案摺焙汀肮拧焙铣梢粋€(gè)術(shù)語(yǔ)，旨在淡化和超越時(shí)代的印記和現(xiàn)實(shí)的痕跡，追求一種連接古今、引人追攀又難以企及的意境。它有時(shí)也指高人雅士獨(dú)具的一種人格境界。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity. "Loftiness" here suggests transcending the limitation of space, not being tied down by concrete objects, thoughts, moods or wishes and conveys a sense of staying aloof from current affairs and worldly conventions. "Primitive simplicity" here means breaking loose from the confinement of time and traveling back to the remote past. It also implies an unadorned antiquity or austere dignity. By combining these two concepts, the term aims to weaken the imprint of its time and to transcend the bounds of reality, reaching for a normally unattainable realm linking the present to the past. Sometimes, this term is also used to refer to an elevated state of being attained by noble-minded persons.
引例 Citations：
◎惟阮籍《詠懷》之作，極為高古，有建安風(fēng)骨。（嚴(yán)羽《滄浪詩(shī)話·詩(shī)評(píng)》）
只有阮籍的《詠懷》詩(shī)，極顯高遠(yuǎn)古樸的特色，具有建安詩(shī)歌的風(fēng)采骨力。
Only Ruan Ji's group of poems "Meditations" display an unadorned antiquity, imbued with the vigorous and forceful features of the poetry of the Jian'an period. (Yan Yu: Canglang's Criticism on Poetry)
◎漢人詩(shī)文，存于今者，無(wú)不高古渾樸。（章學(xué)誠(chéng)《文史通義·內(nèi)篇五·婦學(xué)篇書(shū)后》）
漢代人所作的詩(shī)文，凡是流傳至今的，無(wú)不顯得高遠(yuǎn)古雅、渾厚質(zhì)樸。
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity. (Zhang Xuecheng: General Principles of History)
推薦：教育部 國(guó)家語(yǔ)委
供稿：北京外國(guó)語(yǔ)大學(xué) 外語(yǔ)教學(xué)與研究出版社
責(zé)任編輯：徐同磊
