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浙江大学学报(人文社会科学版)  2024, Vol. 54 Issue (10): 150-160    DOI: 10.3785/j.issn.1008-942X.CN33-6000/C.2024.03.041
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风尘吏、名士态与吟诗人:“武功体”与中晚唐疏野诗风
仲瑶
浙江大学 文学院,浙江 杭州 310058
Poetics and Connotations of “Wugong Style”
Zhong Yao
School of Literature, Zhejiang University, Hangzhou310058, China

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摘要 姚合“武功体”是中晚唐以进士群体为代表的精英文士视簿尉为俗吏的时代风气之产物,其中所呈现出的疏懒、野僻之态则以魏晋名士任诞之风为精神内核,并由此复归了吏隐的本质。与中晚唐“苦吟”诗风的流行相伴,吟诗要素被凸显并成为“武功体”的重要特征之一。创作方式上,以名士之“聊一放”为内核,遣词拙率,时杂俚俗之语,呈现出有别于贾岛派的“疏野”之格,以矫苦吟一派拘泥之弊。这也是“武功体”的诗学及诗史意义之所在。
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仲瑶
关键词 武功体吏隐疏野苦吟中晚唐    
Abstract:The “Wugong Style” is a significant genre in the poetry circles of the Late Tang Dynasty, which can be attributed to the tradition of “reclusive official” poetry or regarded as a form of “leisurely poetry”. Since the Song Dynasty, the joint reference to “Yao Jia” has, to some extent, obscured the unique poetic form and cultural connotations of the “Wugong Style” under the broad backdrop of the “arduous chanting” poetics.In fact, Yao He’s “Wugong Style” is a product of the prevailing sentiment among the elite literati, represented by the Jinshi group, who looked down upon minor officials as common clerks during the Middle and Late Tang Dynasty. The demeanor of lazy, negligence and seclusion presented in this style takes the free-spirited ethos of the Wei and Jin Dynasties’ celebrities as its spiritual core. This attitude of a celebrity is less of a true portrayal of Yao He himself and more of an ideal aesthetic personality that stands in contrast to the personality of a “vulgar clerk”. It is in this sense that the “Wugong Style” returns to the essence of the “reclusive official” tradition.Beyond the celebrity demeanor, the evolution of the “Wugong Style” is also reflected in the prominence of the “chanting poetry” element and poet as the subject. This prominence corresponds to the increasing popularity of poetry and poetic prose in the Jinshi examinations, with poetry serving as the connecting link. The image of the “worldly official” is thus refined, and the “chanting poetry” element becomes one of the significant characteristics of the “Wugong Style”. The interactions with Jia Dao, who represents the arduous chanting school, reveal similarities between the poetry of Yao and Jia in terms of indulgence in poetry, spiritual interests, and even artistic style, which is why they are jointly referred to as “Yao Jia”.In terms of creative methods, it follows the celebrities’ approach of “casually playing a tune”, using simple and straightforward language, sometimes interspersed with colloquial expressions, thus presenting a style distinct from Jia Dao’s school known as “sparse and wild”. This style, which is inherited from the thatched cottage poetry tradition and intertwined with the contemporary ethos, serves to correct the excessive rigidity of the Tang people’s modernist forms, especially the “arduous chanting” school. This is also where the poetic and historical significance of the “Wugong Style” lies.
Key wordsWugong Style    reclusive official    sparse and wild    arduous chanting    Middle and Late Tang Dynasty   
收稿日期: 2024-03-04     
基金资助:国家社科基金一般项目(23FZWB018)
作者简介: 仲瑶(https://orcid.org/0009-0008-6920-9685),女,浙江大学文学院副教授,硕士生导师,文学博士,主要从事唐代诗学研究;
引用本文:   
仲瑶. 风尘吏、名士态与吟诗人:“武功体”与中晚唐疏野诗风[J]. 浙江大学学报(人文社会科学版), 2024, 54(10): 150-160. Zhong Yao. Poetics and Connotations of “Wugong Style”. JOURNAL OF ZHEJIANG UNIVERSITY, 2024, 54(10): 150-160.
链接本文:  
https://www.zjujournals.com/soc/CN/10.3785/j.issn.1008-942X.CN33-6000/C.2024.03.041     或     https://www.zjujournals.com/soc/CN/Y2024/V54/I10/150
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