摘要
前人大多认为,相对于盛唐七绝的主气、讲究兴象风神,中晚唐七绝则是"以意胜"或"主意"的,这一看法可以作为我们认识七绝从盛唐到中晚唐之流变的起点。七绝的由盛唐入中晚唐同时也是七绝体制本身从以乐府体为主向以徒诗体为主的发展过程。相较乐府体,徒诗体更重视纯粹的语言艺术,所以徒诗艺术的增加不可避免地会带来绝句在题材上的扩张,并促使诗人更重意匠经营。中晚唐七绝"主意"或"以意胜"的特征,正是绝句中徒诗艺术不断增加之后导致七绝写作在题材和数量上激增的结果,由此形成七绝艺术在整体上平实、平浅乃至平庸化的倾向;而这种倾向反过来又加剧了徒诗体七绝创作中一直以来对造意的追求。上述两方面看似矛盾,实则是七绝体制内部矛盾运动的表现,并共同构成中晚唐七绝的发展趋势。
Qijue in the mid late Tang Dynasty has generally been considered a kind of Tushi,while Qijue in the grand Tang Dynasty has been considered a kind of Yuefu（乐府） . Comparatively speaking, Tushi-style Qijue pays more attention to the pure language skills,which inevitably results in expanding of the subject and more focus on the structure,sentence and word. It can be inferred that the Yi（意）-charac-terized Qijue in the mid and late Tang Dynasty is the result of a rapid increase in the subject and number of Qijue writing after Tushi elements are continuously added to Qijue. Consequently,an overall trend of simple,common and even mediocre style of Qijue comes into being,which enhances the continuous pursuit of Yi by poets. The above seemingly contradiction is in effect a demonstration of the interior conflicts in the development of Qijue,and constitutes its development trends in the mid and late Tang Dynasty.
出处
《安徽大学学报（哲学社会科学版）》
CSSCI
北大核心
2011年第1期91-99,共9页
Journal of Anhui University(Philosophy and Social Sciences Edition)
基金
上海市重点学科中国古代文学项目(S30403)
关键词
中晚唐七绝
盛唐七绝
徒诗体
乐府体
造意
Qijue of the mid ＆ late Tang Dynasty
Qijue of the grand Tang Dynasty
the style of Tushi
The style of Yuefu
Yi
