论宣王中兴与王官诗学的裂变  

On the Development of Wangguan Poetics in King Xuanwang Period

作　　者：李鹏[1,2] LI Peng(School of Chinese Language and Literature,Anhui No̱rmal University,Wuhu Anhui 241002;Department of Chinese and Communication,Bozhou College,Bozhou Anhui 236800,China)

机构地区：[1]安徽师范大学文学院,安徽芜湖241002 [2]亳州学院中文与传媒系,安徽亳州236800

出　　处：《保山学院学报》2025年第1期82-87,共6页JOURNAL OF BAOSHAN UNIVERSITY

基　　金：国家社科基金重点项目“汉魏佛教诗学研究”(项目编号:18AZW006);安徽高校协同创新项目“中国经学诗学史”(项目编号:GXXT-2021-045);安徽省高等学校科学研究重点项目“汉末瘟疫对政治、文学的影响”(项目编号:2022AH052404)。

摘　　要：《大小雅》中存有大量周宣王朝诗,这与宣王中兴有关。“雅中之颂”“‘变雅’作矣”两组感情色彩迥异的诗同时存在于诗文本中,是宣王时期政治社会生态的折射。宣王朝诗文本的编辑活动,以服务礼乐仪式为目的,但客观上导致了诗歌讽谏功能的长足发展,进而引发了王官诗学的裂变。从此,诗教由乐教附庸而趋向独立,并朝着注重德教的伦理化方向发展。A large number of poems from King Xuanwang period in the Zhou dynasty are found in the Great and Small Ya,which is associated with the rise of King Xuanwang.The presence of two sets of poems with very different emotional colors in the poetic text at the same time is a reflection of the political and social ecology of King Xuanwang period.The editorial activity poetic texts during King Xuanwang period was aimed at serving the rituals of music and rituals,but it objectively led to a significant development of the function of poetry as satire and advice,which in turn led to the development of Wangguan poetics.From then on,poetics tended to become independent from the subordination of music education,and developed towards an ethical focus on moral education.

关 键 词：宣王中兴 雅中之颂 “变雅”作矣 王官诗学 

分 类 号：I2[文学—中国文学]