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作 者:宋学达 SONG Xueda(Department of Chinese Language and Literature, Hong Kong Baptist University, Hong Kong 999077, China)
出 处:《南阳师范学院学报》2021年第2期40-47,共8页Journal of Nanyang Normal University
基 金:国家社会科学基金重大招标项目“唐宋文学编年系地信息平台建设”,项目编号:12&ZD154。
摘 要:咏物是宋词的重要题材,张炎总结咏物词之最高艺术境界为“不留滞于物”。凡臻于这一境界的咏物词作,皆于描摹物象之外寄托着更深的意蕴,形成物象层与意蕴层相互叠映的多重文本空间结构。苏轼的“人格化”咏物,是于咏物词中打造多重结构文本空间之滥觞。周邦彦借咏物词抒发身世之感,并创造出“勾勒”手法,使咏物词的多重文本空间结构更加分明。南宋咏物词则继承了北宋的艺术资源,并继续深化多重文本空间结构的艺术造诣。辛弃疾创作咏物词,能够娴熟运用周邦彦的“勾勒”手法,而姜夔将物象空间转化为意象空间,转换了所咏之物与意蕴寄托的虚实关系,从而达到“不留滞于物”的最高境界。Chanting objects is one of the most important subjects of Ci-poetry in Song Dynasty and its highest artistic realm was described as“not stranded in the object”by Zhang Yan,a literary critic in the late Song Dynasty.Ci-poetry works of chanting objects which fulfilled this highest artistic realm were all implied with further meaning beyond portraying the objects that forming a multiple structure of textual space with the superposition of the object layer and meaning layer.Forming a multiple structure of textual space in a Ci-poetry work of chanting object was originated from Su Shi’s“personification”way in writing such a subject.Then Zhou Bangyan made the multiple structure more laying through attaching his life experience into chanting objects and a creative literary techniques of outline drawing.The art resources of the multiple structure of textual space in works of chanting objects,developed by Ci-poets in the Northern Song Dynasty,was inherited by those in the Southern Song Dynasty and its artistic attainment went deepen.Xin Qiji was able to use the“outline drawing”technique skillfully.Jiang Kui transformed the object layer of space into image layer,which exchanged the relationship between nothingness and essence with the meaning layer either,so as to reach the highest level of“not stranded in the object”.
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