中印古代宫廷诗人的对唱——迦梨陀娑抒情诗与南朝宫体诗的跨文化比较  

Antiphonal Singing between Ancient Chinese and Indian Court Poets—A Cross-Cultural Comparison of Kālidāsa’s Lyrics and Gongti Poetry

作　　者：于怀瑾[1] YU Huaijin(Institute of Foreign Literature,Chinese Academy of Social Sciences,Beijing 100732,China)

机构地区：[1]中国社会科学院外国文学研究所,北京100732

出　　处：《河北师范大学学报（哲学社会科学版）》2020年第6期133-140,共8页Journal of Hebei Normal University(Philosophy and Social Sciences)

基　　金：国家社会科学基金冷门“绝学”和国别史等研究专项“迦梨陀娑评传”(项目编号:19VJX103)。

摘　　要：笈多时期的古典梵语诗人迦梨陀娑创作的抒情诗代表了梵语诗歌艺术的最高成就,他在“诗化”的男性意识叙写中表现出对女性世界的浓厚兴趣。而稍晚于这个时代的中国南朝梁代,宫廷内外也悄然兴起了一股香艳轻绮的宫体诗风。从题材、风格和艺术表现手法诸方面来看,南朝宫体诗与迦梨陀娑抒情诗都有着诸多相似之处。通过爬梳剔抉现有文献和考古资料可知,这种特殊文化现象不仅是中印宫廷诗人群体相似文学生态环境下的产物,也应该是古印度艺术,尤其是笈多佛教艺术和世俗艳情艺术对宫体诗发生直接影响的结果。The Lyrics of Kālidāsa,a classical Sanskrit poet in the Gupta Dynasty(c.3rd century-550),represent the highest achievement of Sanskrit poetry.These poems composed under his male consciousness betray his great interest in the women world.Slightly later than Kālidāsa’s time is China’s Southern Liang Dynasty(502-557),when a kind of erotic poetry gradually crept inside and outside the courts.There are many similarities between Gongti poetry and Kālidāsa’s lyrics in theme,style and artistic techniques.From the available literature and archaeological data we can infer that this special cultural phenomenon is probably traceable in part to similar literary ecological environments that affect contemporary Chinese and Indian court poets and also in part to the direct influence of ancient Indian art,especially the Gupta Buddhist art and the secular erotic art,on Gonti poetry.

关 键 词：迦梨陀娑 抒情诗 宫体诗 印度艺术 

分 类 号：C[社会学]