论沈岸登词对姜夔清空词风的接受  

On Shen Andeng’s Adoption of Jiang Kui’s Qingkong Ci Style

作　　者：李菲 刘红麟[1] LI Fei;LIU Hong-lin(College of Chinese Language and Literature,Hunan University of Science and Technology,Yueyang 414006,China)

机构地区：[1]湖南理工学院中国语言文学学院,湖南岳阳414006

出　　处：《湖州职业技术学院学报》2024年第4期46-50,共5页Journal of Huzhou Vocational and Technological College

基　　金：2022年度湖南省社科基金重点项目“晚清词学与屈骚文化研究”(22ZDB077);2023年度湖南省教育厅科学研究重点项目“清遗民词学对屈骚文化的接受研究”(23A0489)的研究成果之一。

摘　　要：因为人生经历相似,沈岸登仰慕姜夔的为人,向往隐逸生活,有疏淡之风,其词作亦受到了白石词的影响,造就了黑蝶词清空的美学风貌。主要表现在:情感形态偏向于清幽醇雅;多用“柳”“梅”等清疏雅秀意象;偏重运用清冷素雅色调;用典自然天成且避实就虚,力求清空;炼字琢句,颇得白石之法。Due to their similar life experiences,Shen Andeng admired Jiang Kui’s character and yearned for a reclusive life,with a sparse and indifferent style.His Ci was also influenced by Baishi Ci,creating a Qingkong aesthetic style of Heidie Ci.This influence is manifested in several ways:his emotional expression tends towards serenity and elegance;he frequently employs images such as“willow”and“plum”,which exude clarity and refinement;he places emphasis on a cool and unadorned tone;his use of allusions is natural and strategic,avoiding the concrete and seeking the abstract in pursuit of the Qingkong ideal;and he refines his wording and phrasing,effectively adopting the techniques of Jiang Kui’s Baishi style.

关 键 词：沈岸登 词 姜夔 清空 清疏 清冷 

分 类 号：I207.23[文学—中国文学]