江湖诗人情感书写中的羞及其遮蔽与升华——以宋伯仁《梅花喜神谱》为考察中心  

Shame,self⁃concealment and self expression in the emotional writing of Jianghu poets:a case study of Song Boren’s“A Collection of Plum Blossoms Rubbings”

作　　者：沈亚丹[1] SHEN Ya-dan

机构地区：[1]东南大学艺术学院,江苏南京210096

出　　处：《东南大学学报（哲学社会科学版）》2023年第6期87-96,I0002,F0002,共12页Journal of Southeast University(Philosophy and Social Science)

摘　　要：江湖诗人多生活困顿、四处干谒,而南宋繁荣的经济与文化又培育了他们细腻的情感与丰富的欲望,其悲喜多和生计、感官和身体密切相关,具有近世性。他们笔下的饥寒劳顿不再具有“天降大任于斯人”的形而上意味,而南宋理学对羞耻感的多方塑造,更凸显其面目举止之“可羞”。他们在诗画创作中大量引入梅花,且通过文字、图像,将梅花塑造为遮蔽/彰显自我的符号,“嚼梅”则是其获得情感升华的独特途径。江湖诗人宋伯仁的《梅花喜神谱》即将梅花展示为面容,以一百幅图呈现梅花由荣而悴的过程,并配以五言诗,写梅、画梅,“捋香嚼粉”,以获得情感的升华。Though living in the huge prosperity of Southern Song Dynasty,Jianghu poets,of no fixed abode,went through stress and sufferings.These“negative”experiences was no longer taken constructively as a psyche behind such quote“when Heaven is going to give a great responsibility to someone,it first makes his mind endure suffering.”The prevalent Neo⁃Confucianism heightened their sense of humiliation.This feeling can be found in their emotional writings where they wrote and painted extensively on the subject of plum blossoms.These works symbolized the self of these poets,no matter it was self⁃concealment or self⁃expression.Song Boren’s“A Collection of Plum Blossoms Rubbings”,combining a variety of plum blossoms in the form of rubbings with poems inspired by them,is deemed a masterpiece of its kind.

关 键 词：梅花喜神谱 江湖诗人 情感书写 宋伯仁 羞 嚼梅 

分 类 号：I207.22[文学—中国文学]