元曲中以斋为号的几家曲述论  

Discussion on the Yuan Qu Compositions of the Writers Who Adopted Zhai as Their Literary Epithet

作　　者：张兆勇[1] ZHANG Zhaoyong(Huaibei Normal University,Huaibei 235000,China)

机构地区：[1]淮北师范大学文学院,安徽淮北235000

出　　处：《通化师范学院学报》2025年第3期59-67,共9页Journal of Tonghua Normal University

摘　　要：以意为主是自中唐以来中华诗人越来越自觉贯彻的为诗理念,纵观中华诗歌形式之一的元散曲,会发现前后有一大批以斋命名的作家涌现。从其创作的元曲中会发现他们隐于创作中关乎斋的深沉寄托,表现着他们创作的厚重刻意性。在众多的作家中卢挚作为一个资深者,率先以疏斋表达一代士人对萧疏逸气的深度理解;贯云石以“酸斋”及对同时代的关注,表现了他的刻意性。而随之一代士人以五味杂陈编织了他们的复杂心态。Since the Middle Tang Dynasty,the concept of"focusing on meaning"has gradually become a consciously practiced creative principle among Chinese poets.In examining Yuan prose songs,a distinct form of Chinese poetry,we observe the emergence of numerous writers who adopted Zhai as their literary epithet.Their works reveal a profound emotional investment and trust in the concept of Zhai throughout their compositions,which reflects their deep contemplation and intentional artistic pursuit.A representative among these writers,Lu Zhi,was the first to use Sparse Zhai to convey the scholarly transcendence of worldly concerns and a profound understanding of ethereal existence.Similarly,Guan Yunshi,adopting the name Sour Zhai,expressed deep concern for his contemporaries,highlighting the deliberate nature of his creative expression.Subsequent generations of scholars continued this tradition,intricately weaving their complex and evolving emotions into their literary works.

关 键 词：命名 转换 寄托 自藏 

分 类 号：I207.24[文学—中国文学]