【摘要】 寄寓是苏轼对人生在世状态的思考。从空间维度上，他提出“吾生如寄耳”，人只是寄寓天地间，一生漂泊；从时间维度上，他提出“人间如梦”，人生如同一场梦境，转瞬即逝。不过，他并未沉沦，而是通过自然审美生发出寄寓之道——齐同“寄”与“归”，认山水最佳处为家；齐同“梦”与“觉”，化如梦人生为审美人生。苏轼的自然审美不是以自己作为审美主体，对审美对象进行主客对立式观照，而是生发出注重自在自得的“寓意于物”的这种自然审美模式。从寄寓之道的角度探讨苏轼的自然审美，能够使自然审美超越审美对象的意义而获得生存哲学的意义，从而深化当代自然美学。更多还原

【Abstract】 Sojourn reflects Su Shi’s important thinking about the living state of life. In terms of space dimension, Su Shi puts forward that “My life is like a sojourn”. People are just living in the world and wandering all their lives; In terms of time dimension, he proposes that “the world is like a dream”, and so is life, which is fleeting.However, he does not sink into these ideas, but sends out a way of allegory through the aesthetic appreciation of nature. Su Shi regards “sojourn” as “seclusion”, regarding the best place of landscape as home; He also regards “dream” as “awake”, turning a dreamlike life into an aesthetic life. Su Shi’s nature appreciation does not take himself as the aesthetic subject and conduct subject-object opposing appreciation of the aesthetic object, but gives birth to the natural aesthetic mode of “implied meaning in thing” that pays attention to self-satisfaction. Exploring Su Shi’s nature appreciation from the perspective of sojourn can make the aesthetic appreciation of nature transcend the meaning of aesthetic objects and obtain the meaning of existential philosophy, thereby deepening contemporary nature aesthetics.更多还原