元代山水田园散曲的闲适图景和文化心理探析
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摘要
山水田园是诗歌发展过程中一个常见且恒久的写作素材,因此当散曲这种新的体式出现以后,山水田园也自然而然进入了其歌咏和表现的范围。与前代常常将离愁别绪、忆古思今的感伤色彩附着于山水田园描写中的诗词作品相比,很多元散曲的创作者都自觉将愉悦闲适之情寄于山水之间,其作品普遍包含有声、动、事和世俗化的特色。此外,在宏观时代背景下考察元王朝的异族统治、文人群体的复杂构成及时人的心态等多方面特点,既有助于发现存在于这种闲适图景背后的独特文化心理,也为我们重新认识元代文人和文学面貌开拓了新的视角。
Both landscape and pastoral poetry are common in the history of poetry development in China. Therefore,there is no wonder that they naturally become one of the most important contents in Sanqu in the Yuan Dynasty,which is identified as a new style of poetry. In comparison to previous poems that usually presented sentimental emotion while depicting landscape and pastoral scene,the authors of Sanqu preferred to express feelings of pleasure consciously in their works,which generally contain some common features such as voices,activities,narration and secularization. In addition,under a macro background of political situation in the Yuan Dynasty,as well as considering the constitution and psychological characteristics of literati at the time,we may see a kind of unique cultural psychology in these landscape and pastoral writing and consequently have a new understanding of the literati and literature in the era.
Both landscape and pastoral poetry are common in the history of poetry development in China. Therefore,there is no wonder that they naturally become one of the most important contents in Sanqu in the Yuan Dynasty,which is identified as a new style of poetry. In comparison to previous poems that usually presented sentimental emotion while depicting landscape and pastoral scene,the authors of Sanqu preferred to express feelings of pleasure consciously in their works,which generally contain some common features such as voices,activities,narration and secularization. In addition,under a macro background of political situation in the Yuan Dynasty,as well as considering the constitution and psychological characteristics of literati at the time,we may see a kind of unique cultural psychology in these landscape and pastoral writing and consequently have a new understanding of the literati and literature in the era.
引文
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[2]吴庚舜,吕薇芬.全元散曲:广选·新注·集评[M].沈阳:辽宁人民出版社,2000.
[3]林振晔.元代山水散曲色彩意象研究[D].渤海大学硕士学位论文,2015.
[4]李文明.饱含深情的山水散曲———古代山水文学研究之六[J].荆门大学学报(哲学社会科学版),1996(1).
[5]甘洁珊.独出灵秀妙境浑成———论元山水散曲的意境[J].湘潭师范学院学报(社会科学版),2000(1).
[6]刘倢彤.论元人山水散曲与元代山水画的异曲同工之妙[J].石家庄学院学报,2014(4).
[7]戴峰.田园无限乐,夫岂为逃名———论张养浩山水散曲的意趣[J].名作欣赏,2007(14).
[8]窦春蕾.人品与诗品投射在山水中的异彩———张养浩山水散曲之意境美及人格美[J].名作欣赏,2007(14).
[9]李亮伟.论张养浩的山水情怀与山水散曲[J].宁波大学学报(人文科学版),2007(6).
[10]李亮伟.论张可久山水散曲的审美特征[J].宁波大学学报(人文科学版),2006(4).
[11]程千帆.桑榆忆往[M].北京:北京大学出版社,2015.
[12]李昌集.中国古代散曲史[M].上海:华东师范大学出版社,2007.
[13]王星琦.元明散曲史论[M].南京:南京师范大学出版社,1999.
[14]田晓菲.烽火与流星———萧梁王朝的文学与文化[M].北京:中华书局,2010.
[15]陈贻焮.唐诗论丛[M].长沙:湖南人民出版社,1982.
[16]梁扬,杨东甫.中国散曲综论[M].北京:中国社会科学出版社,2007.
[17]任中敏.散曲研究[M].南京:凤凰出版社,2013.
[18]覃德清.中国文化学[M].桂林:广西师范大学出版社,2015.
[19]张筱南.元散曲风格特质及其成因研究[M].广州:世界图书出版广东有限公司,2014.
[20]邓文原.巴西文集[A].纪昀.四库全书:第1195册[C].台北:商务印书馆,1986.
[21]孙康宜,宇文所安.剑桥中国文学史[M].北京:生活·读书·新知三联书店,2013.
[22]查洪德.元代诗学通论[M].北京:北京大学出版社,2014.
[23]刘育.论张养浩对杜甫诗歌和人格的接受与继承[J].江苏科技大学学报(社会科学版),2018(1).
[24]丹纳.艺术哲学[M].桂林:广西师范大学出版社,2000.