梅花的替身:宋代文学中白色香花的类型化书写及其突破  

The Stand-ins of Plum Blossom:The Typed Writing of White Fragrant Flowers and Its Breakthrough in the Literature of the Song Dynasty

作　　者：谢思岚 Xie Silan

机构地区：[1]复旦大学中文系

出　　处：《理论界》2024年第4期75-81,共7页Theory Horizon

摘　　要：随着“六根互用”这一佛教观念的流行,此前被忽视的嗅觉体验得到了宋人的广泛关注和开掘,酴醾、茉莉、水仙等素雅香花纷纷成为宋代文学中新兴的专咏对象。宋人参照梅花意象所凝定的审美维度和比德内涵,对色香接近的多种花卉加以刻画,并热衷于建构其与梅花之间拟人的亲友关系,彰显出类型化的审美及书写倾向。其中部分白色香花的鉴赏情境与梅花迥异,相关题咏由此突破咏梅模式的束缚,进一步丰富了嗅觉书写的层次,并发展出独具特色的美学意蕴。As the Buddhist concept of"the communication of six senses"became popular in the Song Dynasty,the previously neglected olfactory experience received widespread attention and exploration,and elegant fragrant flowers such as rosa rubus,jasmine and asphodel have become new and prominent targets for literature writing.With reference to the aesthetic dimensions and moral aesthetic connotations of the poetic imagery of plum blossom,writers in the Song Dynasty depicted a variety of flowers with similar color and fragrance,and were keen to regard them as plum blossom's relatives and friends,demonstrating a stylized aesthetic and writing tendency.However,the literary works about some white fragrant flowers broke through the writing mode of plum blossom because of a special aesthetic situation,thus enriching the levels of olfactory writing and developing unique aesthetic connotations.

关 键 词：梅花 白色香花 审美维度 比德内涵 

分 类 号：I207[文学—中国文学]