【作者】 赵目珍；

【导师】 戴建业；

【作者基本信息】 华中师范大学 ， 中国古代文学， 2012， 博士

【摘要】 本文旨在对张为的《诗人主客图》进行全面、客观的梳理、分析与研究,并对其中部分诗人的家世、生平事迹、交游、诗文传播等进行考证,对少数诗人的诗歌进行辨伪、辑佚。通过研究与考证,试图将学界对《诗人主客图》的研究有一个大的推进。文章的中心论旨是：《诗人主客图》这一理论著作在中国诗歌流派的发生发展中起到了非常重要的过渡作用,是钟嵘的《诗品》和吕本中的《江西诗社宗派图》之间的桥梁,逐渐实现了中国诗歌流派由“体”到“派”的转变。《诗人主客图》划分中晚唐诗人八十余家入“广大教化”、“高古奥逸”、“清奇雅正”、“清奇僻苦”、“博解宏拔”和“瑰奇美丽”六派,其中不乏大家、名家,即使不出名的那些诗人,在当时也有一定的名声或影响。文章主要包括三个大的部分：第一部分为对《诗人主客图》的全面论析,即“上编·论析篇”。本部分共分五章：第一章对《诗人主客图》的作者张为和《诗人主客图》的命运沉浮进行全面的考述；第二章从这一理论文本的形式上作考察,辨明其“主客”由来的渊源以及其在“摘句为图”上的演变；第三章透过《诗人主客图》反映的审美取向来考察中晚唐时期诗歌创作的现实状态：第四章在梗概中国诗歌的风格理论之后,具体分析《诗人主客图》在从《诗品》到《江西诗社宗派图》演变中的重要过渡作用,并对其六大流派划分的可行性进行深入细微的发掘；第五章讨论《诗人主客图》的价值、意义和地位,分《诗人主客图》的文献价值、《诗人主客图》的理论价值和意义、《诗人主客图》在文学史方面的意义和《诗人主客图》在中国诗歌理论发展史中的地位和影响四个方面来考量。第二部分为对《诗人主客图》中部分诗人的考证,即“下编·考论篇”。本部分也分五章：第六章考证“广大教化派”中的“上入室”弟子杨乘以及费冠卿等六位“及门弟子”；第七章考证“高古奥逸派”的“入室”弟子李馀、刘猛、胡幽贞以及“及门”弟子陈润；第八章考证“清奇雅正派”“上入室”弟子苏郁以及刘畋等四位“入室”弟子、贾岛和厉玄这两位“升堂”弟子、僧良义等五位“及门”弟子；第九章考证“瑰奇美丽派”中的“瑰奇美丽主”武元衡以及其门下除“升堂”弟子许浑以外的十二位弟子；第十章考证“清奇僻苦派”“及门”弟子李溟和“博解宏拔派”“升堂”弟子司马退之。本部分合计考证诗人三十八位。第三部分为“附录”部分,包含《诗人主客图》各派诗人一览表、《诗人主客图》“瑰奇美丽主”武元衡年谱、武元衡及其相关诗文考证系年三个部分。更多还原

【Abstract】 This thesis aims to conduct a comprehensive and objective analysis of The Category of Poet’s Host and Guest, making a textual research to family background, life story, making friends, poetry dissemination of some poets in The Category of Poet’s Host and Guest, and distinguishing and collecting poetry for minority poets. Through these processes, the paper attempts to promote its further study. In the previous studies into the historical process of Chinese poetry genre, many researchers noted Shi Pin which was created by Zhong Rong and The Diagram of Jiangxi Poetry School which was created by Lv Benzhong, because the former created a precedent for Chinese poetry genre consciousness, and the latter set the culmination of the poetic voices and constructed the history of Chinese literature classic school of poetry. But they often ignored the more important part, which is, the The Category of Poet’s Host and Guest which was created by Zhang Wei in the Late Tang dynasty. This theoretical writing has played a very important transitional role in the occurrence and development of Chinese poetry genre, and it implements the transition from the style to school in Chinese poetic voices. In this work, more than 80 poets in the late Tang dynasty were classified into six poetry genres, many of whom were very famous poets. Even those not well-known poets also enjoy a certain degree of fame or influence. The articles include three parts.The first part is a comprehensive theoretical analysis. This section is divided into five chapters: The first chapter conducts a comprehensive research and exploration to the author of The Category of Poet’s Host and Guest, and ups and downs of the work; The second chapter, mainly through investigation of text form, identifies its subject and object of the origin and evolution of putting sentences map; The third chapter, mainly through the aesthetic orientation reflected by The Category of Poet’s Host and Guest, examines the reality of the creation of the late Tang Dynasty poetry; The fourth chapter, after the introduction of Chinese poetry style theory, analyses the important transitional role in the evolution from the Shi Pin to The Diagram of Jiangxi Poetry School, and analyses the feasibility of the six schools. The fifth chapter discusses the value, significance and status of the The Category of Poet’s Host and Guest, analyzing the literature value, the theory of value and meaning, the significance in the history of literature and position in the history of Chinese poetry theory development and impact.The second part is the research into some of the poets in The Category of Poet’s Host and Guest, and it can be divided into five chapters:Chapter 6 is the research about GuangDaJiaoHua School, including Yang Cheng that was the ShangRuShi disciple, and six JiMen disciples; Chapter 7 is the research about High-Ancient School, including Li Yu, Liu Meng and Hu Youzhen that were the RuShi disciples, and Chen Run who is the Ji Men disciple; Chapter 8 is the research about QingQi and Masatada School, including Su Yu that was the ShangRuShi disciple, four RuShi disciples, Jia Dao and Li Xuan who were the ShengTang disciples and five JiMen disciples; Chapter 9 is the research about Legendary and Beauty School, including Wu Yuanheng that was the representative, and the other twelve disciples except Xu Hun that was the ShengTang disciple; Chapter 9 is the research about the poets of the other two Schools, including Li Ming that was the JiMen disciple of QingQiPiKu School, and Sima Tuizhi that was the ShengTang disciple of BoJieHongBa School.38 poets were researched in this part.The third part is the appendix, containing a list of the poets of six schools in The Category of Poet’s Host and Guest, the Chronicle of Wu Yuanheng:the representative of legendary and beauty school in The Category of Poet’s Host and Guest, and the textual research and chronology to the poetry and articles which is related to Wu Yuanheng:the representative of legendary and beauty school in The Category of Poet’s Host and Guest.更多还原