论沈周的交际身份与诗学宗尚  

A Research on Shen Zhou’s Identity in Social Life and Preferences in Poetics

作　　者：汤志波[1] TANG Zhi-bo(Department of Chinese language and Literature,East China Normal University,Shanghai 200241,China)

机构地区：[1]华东师范大学中文系,上海200241

出　　处：《苏州大学学报（哲学社会科学版）》2022年第5期171-180,共10页Journal of Soochow University(Philosophy & Social Science Edition)

基　　金：国家社会科学基金青年项目“沈周与吴中文坛研究”(项目编号:15CZW036)的阶段性成果。

摘　　要：沈周早年学诗宗唐,这既受当时主流文坛风尚的影响,也是作为诗坛晚辈在诗歌交际时的必然选择。沈周30岁以后开始绘画交际,图画逐渐取代诗歌成为其主要交际工具,于是不再留心诗艺,并创作了大量即兴题画诗,语言浅白近于宋诗一路。沈周终身不仕,晚年多作描写日常生活、个人感受的田园诗与闲适诗,给人以“卒老于宋”的印象。沈周的诗学转向,是由其诗人、画家、隐士的交际身份不断转变乃至交融之产物,也与自身性格及吴中崇尚博雅的诗学环境有关。对沈周交际身份与诗学实践之考察,有助于更好地了解明代吴中文坛的诗学宗尚问题。Shen Zhou studied Tang Poetry in his early years,which was not only influenced by the mainstream literary fashion at that time,but also an inevitable choice as a junior in the poetic social life.Shen Zhou began his social activity in art after the age of 30.Painting replaced poetry as his main communication tool,so he stopped paying attention to poetry and created a large number of impromptu poems with painting,with a much simple style in language,close to the Song style.Shen Zhou did not hold office all his life,and in his later years he wrote many idyllic and leisure poems describing daily life and personal feelings,giving people the impression of“ending up in the Song Dynasty”.Shen Zhou’s poetic transformation“from Tang to Song”is the product of the gradual change and eventual integration of his poet,painter,and hermit’s identities in social life.It is also related to his own character and Wu District’s poetic environment in which artists advocated liberal arts.The investigation of Shen Zhou’s identity in social life and poetics practice will help to better understand the inclination of poetics in Wu art circles in the Ming Dynasty.

关 键 词：沈周 交际身份 诗学实践 吴中文坛 

分 类 号：I207.22[文学—中国文学]