论宋代“闺思”小令的兴寄方式  

On the Expressive Modes of“Boudoir-Themed”in the Song Dynasty Xiaoling

作　　者：霍明宇[1] Huo Mingyu(Institute of Chinese Culture,Chinese Academy of Art,Beijing 100029)

机构地区：[1]中国艺术研究院中国文化研究所,北京100029

出　　处：《西部学刊》2025年第8期165-168,共4页Journal of Western

摘　　要：中国古代韵文尤重兴发寄托以委曲传达抒情主体的情感蕴含。从早期《诗经》以景起兴,继之以叙事、抒情,到后世情与景的交融,直到宋代小令中情即是景,景即是情的高度融合,依托整体情境式的意境带领读者进入深层的情感体验,成为古典韵文兴寄方式的一个发展趋势;再从抒情主体的叙事视角来说,早期诗歌的抒情主体以描述性、旁白式的口吻叙说事件、抒发情感,而到宋代小令则通过营造整体情境以兴发读者产生自身浸入式的体验,最终达到“静观自悟”的境界。独特的兴寄方式使宋代令词虽体制短小却意蕴无穷。In ancient Chinese poetry,the emphasis was particularly on expressing the emotional connotations of the lyrical subject through composing.From the early period of the Book of Songs,which was inspired by scenery,followed by narrative and lyrical expression,to the fusion of worldly emotions and scenery in later times,and finally to the Song Dynasty xiaoling,where emotion and scenery are highly integrated,this trend reflects the evolution of expressive modes in classical rhymed verse.By creating an overall situational imagery,these works lead readers into a deep emotional experience.Furthermore,from the perspective of the lyrical subject’s narrative perspective,early poetry described events and expressed emotions in a descriptive and narrative tone,while in the Song Dynasty xiaoling,the lyrical subject constructs an immersive experience through situational imagery,ultimately achieving the state of“contemplative self-enlightenment”.The unique expressive modes of the Song Dynasty xiaoling allow it to be concise in form yet rich in implication.

关 键 词：闺思小令 兴寄方式 整体情境 静观自悟 

分 类 号：I207.23[文学—中国文学] K244[历史地理—历史学]