【作者】 海滨；

【导师】 薛天纬；

【作者基本信息】 华东师范大学 ， 中国古代文学， 2007， 博士

【摘要】 唐诗与西域文化这一课题，是从文化角度对唐诗进行考察研究的新探索。旨在比较系统地厘清与唐诗相关的主要西域文化现象，比较清晰地描述唐诗在哪些方面如何接受西域文化的影响，并努力显现前述现象和过程背后的诗学影响。论文第一章在文献综述的基础上着力讨论唐诗与西域文化研究范式如何转变的问题，强调要把研究对象的重点从现象转移到过程和关系，研究方法的使用则要“预流”，即预目前唐诗学界提倡的文史结合的理路之流，积极主动地把唐诗外围的各种资料整合到研究中来。论文第二章着重研究唐诗接受西域文化影响的两大前提，首先，从社会到诗歌的开放格局开拓了唐代诗人的胸襟视野，为唐代诗人接受西域文化提供了广袤而开阔的文化背景；其次，唐王朝经营西域和唐人在西域的活动，不仅仅为诗人接触和了解现实的西域制造了方方面面的契机，而且为诗人亲历西域并抒写西域提供了现实的可能性。论文第三、四、五章分别围绕西域历史地理文化、西域乐舞文化和西域民俗文化展开研究，是本文的重点和核心部分。第三章提出了“唐诗西域之路”的观点并进行了详细论证，又从汉唐情结入手探讨了“楼兰”和“轮台”这两个语汇在唐代诗歌中的特殊意义。第四章的器乐文化部分详尽地梳理了琵琶、觱篥等西域乐器发展源流并深入探讨了西域器乐文化摄人心魄的感染力、丰富深刻的表现力以及悲绝激越的审美意味，其中关于昭君出塞与琵琶诗、文姬归汉与胡笳诗、公无渡河与箜篌诗等传统文学母题与西域器乐的关系问题是作者力图探究清楚的重点；西域三大乐舞部分则依据大量的文物考古资料和历史文献，图文相辅，文史互证，比较清晰地辨析了胡旋舞、胡腾舞和柘枝舞的舞容特点、流变传播过程，并结合传统诗学理念讨论了唐人对待西域乐舞文化的矛盾心态。第五章在梳理西域诸民俗文化过程中发现，文献记载和出土文物反映的唐代西域民俗文化的盛行情况在唐诗中的具体表现却是比较寥落的，唯一的例外者就是葡萄(酒)文化；本章以大量的文献和考古资料与诗歌相印证，总结出葡萄(酒)文化景观在唐诗中呈现出的三个意义：西域的代称符号、曼妙的歌咏对象、珍稀的奢侈物品；在此基础上，作者又进一步拓展了研究范围，详细讨论唐代的饮酒诗与西域酒俗文化的关系，认为西域酒俗的迷恋性、狂欢性和自由性特点与唐诗所追求的性情的发抒、心灵的自由、精神的解放等具有内在一致性，都在充分强调极致性的美学意味。论文第六章着重从宏观上讨论唐诗与西域文化的关系。西域文化极大地拓展了唐诗创作的视野和范围，丰富了唐诗创作的内容和题材，从具体诗人的创作情况来考察，岑参、白居易、李白的诗歌分别体现着西域历史地理文化、西域乐舞文化和西域葡萄(酒)文化对唐诗创作内容的巨大影响。充满了复杂性、浑沌性和开放性的西域文化为唐诗创作的审美情趣和艺术风貌朝着好奇、雄健、扬厉方向发展产生了积极有效而深远的影响，促就了唐诗的极致性之美，为唐诗发展的进程注入了活力、生机与异端的因子。与此相应，负载本文核心内容最多的诗体是极具表现力的七言歌行。这种巧妙的暗合隐藏着这样一条脉络：西域文化的特质、唐诗极致性的美学意味、七言歌行的艺术表现能力在深层次上是有着相通之处的。唐诗和西域文化跨越了空间、时间、民族、观念等诸多的障碍和壁垒，在深层次的文化交融的领域，在艺术追求和审美理念的终极目标上，实现了内在的沟通和一致。更多还原

【Abstract】 This paper shows a study on Tang poetry from the point of view of culture. Based on the researches of some important phenomenon of the Western Regions Culture, we explore how Tang poetry accepted the infection of the Western Regions Culture in the poetic realm.The article falls into six parts.The first part reviews all the research about the relationship of Tang poetry and the Western Regions Culture in the last 100 years and draws such an inclusion that the emphases of this study must be transferred from phenomenon to process and relationship.The second part discusses two essential preconditions on which the course how Tang poetry accepted the infection of the Western Regions Culture relies. Opening situation of Tang society and Tang poetry gives poets a huge mind. And the management of the western regions by Tang dynasty offers poets more chances to realize the Western Regions Culture.As the hardcore of this paper, the following three parts discuss the relationship of Tang poetry and history- geography culture, dance-music culture and folk-custom culture of the western regions. "The road of the western regions of Tang poetry" is the kerneled view of the third part. The phrase "Loulan" and "luntai" appear in Tang poetry at high frequency to express a special emotion between Han dynasty and Tang dynasty. Instrumental music culture and dancing culture of the western regions impress obvious and deep mark upon the Tang poetry. Some important classic themes such as "Wangzhaojun married Hun", "Caiwenji came back from Hun" and "Gongwuduhe" are maintain a close contact with Pipa, Hujia and Konhou. Facing the popularity of Huteng-dance, huxuan-dance and Zhezhi-dance, Tang poets express their conflictory attitude. When all kinds of folk-custom culture from the westem regions become fashion at society of Tang dynasty, only grape and wine culture are enjoyed by poets. The character of drinking folk-custom culture from the western regions are infatuated, unconstraint and on the binge. These characters are consistent with Tang Poetry.The last part discusses the macroscopical relationship between Tang poetry and the Western Regions Culture. The Western Regions Culture develop the visual field of Tang poets. Plentiful poems of the famous poets such as Libai, Censhen and Baijuyi prove this view. The complex, confusional and opening character of the Western Regions Culture play an important role in the course of the style of Tang Poetry forming. As a result, Tang Poetry is well-known of its strange, powerful and overstating style.更多还原