“江村唱和”“广陵唱和”与清初江南词坛稼轩风的演进  

From Jiangcun Antiphon to Guangling Antiphon: the Evolution of Jiaxuan Style of Jiangnan Ci poetry Circle in the Early Qing Dynasty

作　　者：葛恒刚[1] 

机构地区：[1]南京师范大学,210098

出　　处：《江苏社会科学》2018年第5期200-207,共8页Jiangsu Social Sciences

基　　金：国家社科基金重大项目“明清唱和诗词集整理与研究”(17ZDA258)、国家社科基金一般项目“京师词坛与清代词学的演进研究”(14BZW030)阶段性成果.

摘　　要：康熙四年发生的"江村唱和",促进了稼轩风在江南词坛的兴起和传播,是江南词坛词风由婉约转向豪放的一次标志性唱和活动。康熙五年发生的"广陵唱和",推动稼轩风逐渐成为江南词坛乃至清初词坛创作的主流。"江村唱和"与"广陵唱和"分别调寄《满江红》《念奴娇》,是由唱和所抒发的情感性质决定的,也与词调及韵脚具有的抒情特征密切相关。从"江村唱和"到"广陵唱和",清晰地反映了江南词坛稼轩风的流变轨迹,在清初稼轩风演进过程中,具有重要的价值与认识意义。The"Jiangcun Antiphon"which took place in the four years of Kangxi promoted the rise and spread of Jiaxuan style poetry in the Jiangnan Ci poetry circle. It was a symbolic antiphon from gra-cious style to bold style of Ci poetry in Jiang Nan Ci poetry circle. In the five years of Kangxi,"Guangling Antiphon"promoted Jia Xuan style to gradually become the mainstream of the creation of the po-ems in the south of the Yangtze River and even in the early Qing Dynasty."Man Jiang Hong"and"Nian Nu Jiao"were used by"Jiangcun Antiphon"and"Guangling Antiphon"respectively, which aredetermined by the emotional nature of antiphoner, and are closely related to the lyrical features of toneand rhyme. From"Jiangcun Antiphon"to"Guangling Antiphon", they clearly reflect the trend of thechange in Jiaxuan style of the Jiangnan ci poetry circle so that they are of great value and cognition significance in the evolution of Jiaxuan style in the early Qing dynasty.

关 键 词：江村唱和 广陵唱和 江南词坛 稼轩风 

分 类 号：I207.23[文学—中国文学]