雍乾词坛“沁园春”调“咏美人”题唱和的创新和迷失  

Innovation or in a Confusion--“Qinyuanchun”,“Depicting Beauty”Responsorial Poem in Yongzheng and Qianlong Period of Qing Dynasty

作　　者：刘东海 LIU Donghai(Hujiang School of International Education,University of Shanghai for Science and Technology,Shanghai 200093,China)

机构地区：[1]上海理工大学沪江国际教育学院,上海200093

出　　处：《南阳师范学院学报》2021年第2期22-33,共12页Journal of Nanyang Normal University

基　　金：国家社会科学基金重大项目“明清唱和诗词集整理与研究”,项目编号:17ZDA258。

摘　　要：南宋词人刘过首倡的“沁园春”调“咏美人”题创作,在雍乾朝得到52人唱和,存词315首,唱和达到前所未有的高峰。以浙派为主的大唱和,承脉朱彝尊体物词创作风格并不断创新,在钩事典的极致化、吟咏对象的冷僻化、创作视点的散片化、道佛文化的审美化等方面,显示了雍乾朝词人们的探索。但是,这些唱和作品,在创新的同时也开始追逐浙派之末流,失返其根本,出现了大量缺乏真情实感的作品。The creation of“Qinyuanchun”melody and“Depicting Beauty”initiated by Liu Guo,a poet in the Southern Song Dynasty,had been joined by 52 poets in Yongzheng and Qianlong period of Qing Dynasty,and 315 responsorial poems had been written,the scale of which reached a new peak.The creation were dominated by Zhe-Style of Ci poem and were enormously influenced by Zhu Yizun,the leader of Zhe-Style of Ci poems during Kangxi period,Qing Dynasty.The poetry works kept innovating and those efforts were reflected in the following aspects:denser and more extreme allusions,obscurer objects of descriptions,fragmentary viewpoints,and the aesthetic taste coming from Taoist culture and Buddhist culture.However,while trying to make it newer,many failed works that lacked of honest emotion had also appeared in the singing harmony.

关 键 词：“沁园春”调 “咏美人”题 雍乾词坛 唱和 

分 类 号：I207.23[文学—中国文学]