【作者】 张晓红；

【导师】 尹占华；

【作者基本信息】 西北师范大学 ， 中国古代文学， 2010， 博士

【摘要】 本文是就宋代帖子词这一文体所作的专题研究,总共十章。第一章是宋代帖子词的概念和特征。帖子词的称名源于它的用途,它是门帖用诗。门帖有很多种,其中有一类上面书写吉祥用语,宋代宫廷将其固定化为一种宫廷立春、端午节日的用品,并由学士院负责撰写所需的五、七言绝句,这些诗便是帖子词。帖子词亦作贴子词,但应以“帖”为准确。帖子词主要分为立春帖子词和端午帖子词两类。帖子词的写作是应制性的,作者为翰林学士,写作有一定的程式,通常一组帖子词由一人独作或二人合作完成。第二章是帖子词帖子词产生和兴盛的原因。帖子词的产生和繁荣既有社会文化的原因,也有文学自身发展的因素。它与宋代社会的稳定、经济的繁荣和文化的发达密切相关,是宋代节日文化高度繁荣的衍生品;从文学的角度来看,它是前代宫廷节日诗、宫词、门帖用语等发展的结果。第三、四两章对现存宋代帖子词的作者、作时进行了考述。通过梳理作品,考辨作者,明确作时,作者的写作身份,以进一步明确帖子词的写作体制、整体创作情况、存诗的系年以及写作者的任职等。再此基础上,第五、六两章是对宋代帖子词发展演变的梳理。帖子词的发展演变经历了六个阶段。真宗时期为帖子词初创期,夏竦是最早的帖子词作者;帖子词在诗题、体裁、诗歌数量等方面表现出不定型的特征,但它们为后代的帖子词做出了示范。仁宗时期是帖子词的成熟时期,帖子词完全定型,写作帖子词成为每年立春、端午节的惯例,大量翰林学士写作了帖子词;欧阳修的创作则给帖子词带来创变,在帖子词史上具有举足轻重的地位。英宗至哲宗元祐是帖子词的全面繁荣时期,众多著名诗人如司马光、苏轼、苏辙、苏颂等参与了帖子词的创作,帖子词成就较高,帖子词通常提前一月写作。哲宗绍圣至钦宗时期是帖子词的衰落时期,由于元祐文士的被贬谪和文禁的严厉,帖子词的创作处于低迷状态。靖康之乱,帖子词写作中断,高宗绍兴十三年恢复。孝宗时期帖子词创作进入中兴时期,周必大、崔敦诗成为这一时期帖子词创作的主要诗人。孝宗之后帖子词一直延续,终结于宋末的战乱年代。南宋的帖子词基本延续北宋特色,在写作上有时二人合作,写作时间无须提前一月。第七、八章是帖子词的思想内容和艺术特征。帖子词的思想内容主要包括五大类:纪述节序、应时纳祜、歌功颂德、纪写事实和寓含规谏。帖子词最基本的功能是祓除祈祝,因此对立春和端午两节的节令习俗及自然景色的描写是其最基本的内容;表达福寿、多子、国泰民安的祈祝是其第二大内容;对国家太平盛世的歌颂,对统治阶级勤政爱民、贤淑勤俭、孝悌等美德的赞美,是其第三大内容;对宫廷典礼、重大事件、日常生活等重要时事的纪写则是其第四大内容;在帖子词寓含讽谏,对统治者的为政和修身加以规戒则是其第五大内容。帖子词的艺术特征颇为显豁。首先是形态鲜明,结构雷同,其次是语象集中,辞藻雅丽;其三是善于用事,典故集中;其四是声韵谐美,格律谨严。第九、十章是对宋代帖子词价值和影响所作的探讨。宋代帖子词的价值体现在文学,史料和风俗三方面。文学上,宋代帖子词继承了中国诗歌“颂美”、“讽谏”的优良传统,寓讽于颂,使颂美文学也能发挥一定的社会政治功能;帖子词丰富了诗歌题材,成为一种独有的诗体和节日诗歌;帖子词对诗歌的联章体形式也有所开拓;帖子词的发展史则反映了宋代诗歌的发展流变,从中可以管窥宋诗发展的脉络和规律;帖子词具有一定的史料价值,它对宫中人事的如实描写和及时准确的反映,既有助于了解宋代宫廷人物及其生活,尤其是宫廷节日生活和习俗,还有助于弥补其它文献记载的不足,订正文献的讹误。帖子词还具有较高的风俗价值,它全面细致地展现了宋代节日宫廷节日习俗,间接地反映了宋代某些节日仪式和习俗的发展演变,诗中还反映了宋人的风俗观。宋代帖子和帖子词具有相当的影响力,对宋代非宫中帖子和帖子词、金元门帖和门帖诗、明清民间春联,对清代宫中帖子词以及国外帖子和帖子词都产生了深远影响,对传统节序诗的内容、意象也有一定影响。更多还原

【Abstract】 The thesis studies Tiezici(帖子词) in Song dynasty,which consists of 10 chapters.ChapterⅠdeals with the concept and characteristics of Tiezici in Song dynasty. Tiezici takes its name from its usage, which refers to poems used as door cards. There are many kinds of door cards,and one of which, with auspicious words on them,has been regulated to become a necessity for Spring Beginning Festival (lichun) and Dragon Boat Festival in Song palace. The poems are usually five or seven-character quatrains written by the scholars in Scholar Office (xueshiyuan). The Chinese characters of Tiezici(帖子词which means card words) sometimes are written as Tiezici(贴子词which means card words be pasted),but Tiezici(帖子词) is more acceptable and can be divided into two forms, Tiezici of Spring Beginning Festival and Tiezici of Dragon Boat Festival. The writing of Tiezici is always out of the emperors’will, which has certain stylized writing patterns. Usually, a group of Tiezici is written by one author alone or two in collaboration.ChapterⅡexploits the two reasons of the creation and prosperity of Tiezici, one is due to the development of the society and culture, the other is because of the literature itself. Tiezici is closely related to social stability, economic prosperity and cultural development in Song, and which is also a ramification of a high degree of prosperity of Song festival culture. From the literary point of view, it is the results of development of the former palace festival poetry,palace words and the door decoration words.ChapterⅢandⅣare textual research of authors and writing time of the existing Song Tiezici. Through analysis of the literary works, textual research of the authors, clarification of the poems’writing time and the identity of the authors, the thesis is to make a further elaboration of the writing institution of Tiezici, the total creation of Tiezici, the chronicles of existing Tiezici works and the authorship of the writers. Based upon this, ChapterⅤandⅥhackle the development and evolution of Song Tiezici, which covers six stages:Zhenzong period was the initial stage of Tiezici, and XiaSong was its first author. Tiezici of this period showed atypical features in title, genre, quantity, etc, which established a model for the later Tiezici. Renzong period was the maturity stage of Tiezici. It became completely mature and regulated, and its writing was an annual tradition at Spring Beginning Festival and Dragon Boat Festival, and a large number of advanced scholars participated in the Tiezici creation. Ouyang Xiu’s creation played a decisive role in the history of Tiezici writing and brought great changes in its writing. From Yingzong to Yuanyou period of Zhezong, it is the stage of Tiezici’s prosperity. Many well-known poets such as Sima Guang, Su Shi,Su Zhe and Su Song involved in the creation of Tiezici and wrote it one month in advance normally and gained great success. From Zhezong Shaosheng to Qinzong, this period witnessed the decline of Tiezici because of the banishment of Yuanyou scholars and strict literary taboo, thus the creation of Tiezici was at low ebb. In Jingkang chaos, Tiezici writing suspended until the restoration in the thirteenth year of Gaozong Shaoxing. In the period of Xiaozong, Tiezici writing entered into the recovery stage, during which the major writers were Zhou Bida and Cui Dunshi. After Xiaozong, Tiezici writing continued, but ended in chaos at the end of the Song dynasty. The basic characteristics of Tiezici in Northern Song dynasty had been maintained in Southern Song dynasty, and a group of Tiezici was created by two poets sometimes without one month in advance.ChapterⅦandⅧinquire into the ideological content and artistic features of Tiezici, the former include five categories: chronicling of the festival and season,blessings,praise, narrative of the facts and remonstrance. Firstly, the most basic content of Tiezici is the seasonal customs and natural scenery description of the Spring Beginning Festival and the Dragon Boat Festival because the function of Tiezici is to eliminate all ills and to pray for happiness; The second theme is to express the longing for longevity, multi-child, peace and prosperity; The third theme of the Tiezici is to give praise to the national peace and prosperity, to the virtues of the caring, virtuous, thrifty and filial piety of the ruling class; The fourth topic of Tiezici is the description of the court ceremonies, important events, daily lives and other current affairs; The fifth topic of Tiezici is remonstrating with rulers regarding their governance and self-cultivation. Tiezici has quite remarkable artistic features, the first is its clear-cut patterns and structural similarity; the second is its concentrated images and elegant language; the third is its common adoption of the allusions; the last one is its harmonic phonology and metrical precision.The chapterⅨandⅩdelve further into the value and impact of Song Tiezici. The value of Tieizici lies in three fields such as literature, history and customs. Literarily, Song Tiezici inherits the“praiseful”and“satirical”tradition of the Chinese classical poems, blending ridicule in the praise so that praise literature also functions in the social and political life, which enriches poetry themes as well as making itself an unique poetic genre and festive verse poetry. Furthermore, Tiezici has expanded the form of the sonnet sequence. The history of the Tiezici reflects the growing history of the Song poetry, from which the thread and law of Song poetry development can be glimpsed. Tiezici has certain historical value, its factual description of persons and matters in Song court and its timely and accurate reflection of the palace events not only facilitate the understanding of the court life in Song dynasty, especially festival life and customs, but also replenish other documental shortage of epic and revise documental errors. Tiezici also has a higher custom value. It displays the full detail of the festival customs in Song court, reflects indirectly the development and evolution of some festive ceremony and customs in Song dynasty, and represents the customary idea of the age as well. In short, door cards and Tiezici in Song dynasty have considerable influence on customs, which have exerted profound impact upon the non-palace door cards and Tiezici of that age, upon the door cards and door-card poetry in Jin and Yuan dynasties, upon the Spring Festival couplets in Ming and Qing dynasties, upon the palace Tiezici in Qing Dynasty as well as the foreign posts and Tiezici. In addition, Tiezici has certain influence on the content and images of the traditional festival poetry.更多还原