《花间集》的庭院建筑空间书写与词体体性建构  

The Spatial Writing of Courtyard Building and the Stylistic Construction of Ci Poetry in Among Flowers:the Hua-chien Chi

作　　者：蒋昕宇 JING Xin-yu(School of Literature, Nankai University, Tianjin 300071, China)

机构地区：[1]南开大学文学院,天津300071

出　　处：《西安建筑科技大学学报（社会科学版）》2022年第3期84-91,共8页Journal of Xi'an University of Architecture & Technology(Social Science Edition)

基　　金：天津市研究生科研创新项目(2020YJSB186)。

摘　　要：庭院建筑是《花间集》表现的核心空间场景,呈现出花间词最为普遍的表现对象与审美精神,极大程度上建构了词文体的体性。花间词人对不同隶属关系庭院空间的书写,表现了唐末五代宫廷怨妇、女冠和闺阁女性不同的生活心理状态。《花间集》中的楼阁具有明显的装饰性,建构出女性在夜晚水畔登楼念远为主体的时空情感模式。花间词人受词文体题材和抒写方式影响,对门窗、屏障、帘幕等边沿空间格外喜爱,表现词体婉约深曲的风格。不同词人对该抒写方式的认同或背离,建构出词体体性的内在差异,也为后世词体体性建构提供了新的可能性。Courtyard buildings,the core space scene of Among Flowers:the Hua-chien Chi,express the most common representatives and the aesthetic spirit of ci poems in the work,and construct the Ci style to a great extent.The writing of the courtyard space with different subordinate relations by the Ci poets in the collection shows the different mental and living states of unhappy wives in palace,Taoist nuns and women in boudoir in the late Tang and Five Dynasties.In Among Flowers:the Hua-chien Chi,the obviously decorative pavilions serve to portray a space-time emotional pattern where women climb the waterside building at night and yearn far away.Influenced by topic,genre and expressing way,the Ci poets are especially fond of using doors,windows,screens,curtains and other edging spaces to convey the graceful and restrained style of Ci poetry.Whether different poets identify with or depart from this way of writing determines the internal stylistic diversity of Ci poetry,which also provides a new possibility for the stylistic construction of Ci poetry in later generations.

关 键 词：《花间集》 词 庭院空间 楼阁空间 边沿空间 

分 类 号：I207.23[文学—中国文学]