花间词人的水景书写与词体体性呈现  

Depiction of Water in the Huajian Ji and the Presentation of the Nature of Ci Poetry as a Genre

作　　者：汪超[1] WANG Chao

机构地区：[1]武汉大学文学院

出　　处：《国学学刊》2019年第4期16-25,141,共11页Research in the Traditions of Chinese Culture

摘　　要：《花间集》的水景书写除实相外,还有虚相水景的呈现。室内虚相水景借屏风画、图案呈现,词作的文本、历史记忆的表达也会形成虚相水景,是花间词人别具特色的创造性书写。《花间集》书写的水域大多在南方,描述的水面去壮阔化,水景与山景的叙述二元化。与唐前文人相比,花间词人多以美好的笔调书写南方。《花间集》所选作品受作品题材和作者审美倾向影响,书写习见而柔婉的景观,呈现出"花间范式"。后世接受、认同该范式,形成了"词为艳科"的词体体性认识。The poems incorporated in the Huajian Ji(花间集)not only depict realistic water scenery, but also write about artistic and imaginary water scenery, unrealistic in nature. These poems are famous for their artistic presentation of water on screens and paintings. This kind of water scenery, usually presented together with mountains and hills, could easily evoke people’s poetic memory on the south.Their preference for a soft, meek scenery defines the aesthetic paradigm of the Huajian Ji, a preference later is connected with people’s understanding of the nature of ci poetry as a genre.

关 键 词：花间词 水景 花间范式 词体体性 

分 类 号：I207.23[文学—中国文学]