【作者】 冯淑然；

【导师】 姜剑云；

【作者基本信息】 河北大学 ， 中国古代文学， 2007， 博士

【摘要】 顾况是由盛唐向元和诗坛过渡时期的一位重要诗人。顾况出儒学世家吴郡顾氏,为顾雍、顾野王之嫡系裔孙,有着良好的家世和教育背景。但顾野王而后的隋唐时期,顾况一系由原来的世家大族降为庶族寒门。吴郡(今苏州)为顾况祖籍和郡望,润州丹阳(今江苏丹阳)为顾况籍贯,苏州海盐(今属浙江)为顾况里居。顾况早年读书山林,至德二年,进士及第,从此走上仕途。他大部分时间在江南一带宦游,从事盐政工作,做的都是僚属一类的小官,不甚得志。大历二年至四年间,与李泌、柳浑交游,结下深厚友谊,对其以后的人生道路影响很大。后入韩混幕府,任节度判官,颇受重用。贞元三年,柳浑、李泌相继辅政,顾况以校书郎入征长安,后迁著作郎,这是他一生所任最高官职。顾况在长安的政治生涯,只短短的三年时间便随着好友柳浑、李泌的相继去世而结束,被贬饶州司户参军。数年后,因复调希望破灭而归隐茅山,正式加入道教。顾况身历盛唐和中唐,对唐代社会生活的衰变有着深切的感受,和当时许多士子一样,他的思想人格中有着儒、释、道文化的多种因子,呈现出复杂的价值取向,除此之外,还带着吴中地域文化的鲜明痕迹。他是孔门之狂者,出释入道之仙侣,擅画解乐之吴中才子。顾况诗歌的内容是丰富多彩的,以十三章为代表的乐府诗,揭示了当时存在的社会矛盾,提出了异常尖锐的社会问题：农民问题、战争问题、腐败问题、妇女儿童问题。首句标其目的体制形式,具有开创意义。顾况善解音乐,他的音乐诗具有很高的艺术成就,为后人积累了丰富的创作经验。他的题画诗渗透着自己的绘画经验和审美情趣,体现了重主观表现、重写意的美学思想。其笔下的山水、景物诗,也凝聚着画家的技艺和匠心,具有绘画一样的艺术美。顾况诗歌更多的是抒发自己对生活的主观感受,具有强烈的抒情性。山,是顾况诗歌中出现频率极高的审美意象,是把握顾诗美学风貌的一个重要的切入点。顾况诗歌的审美风格是复杂多样的,既具时代特征,有清丽、高逸之作；又超出时代之外,显示出亦俗亦奇的美学风貌。顾况诗文,唐代已经结集,二十卷,今存皇甫湜序。宋、元时期,逐渐散佚,只见载于类书、总集与选集中。明清时期,顾况诗文得到收集和整理,共有三个系统的版本流传,二卷本系统《华阳真逸诗》二卷、《顾况集》二卷；三卷本系统《华阳集》三卷附顾非熊诗一卷；四卷本系统,乃以胡震亨《唐音统签》顾况诗四卷为基础成就《顾逋翁诗集》四卷本,后为全唐诗照单收录,成为研究者最主要的文本依据。更多还原

【Abstract】 Gu Kuang was an important poet at the turn of the flourishing age of Tang Dynasty and the middle Tang Dynasty. Gu Kuang was descended from the Gus in Wu County which was a Confucianism Family. He was the descendants of Gu Yong and Gu Ye-wang, and had a well-known family history and education background. However, in the Sui Dynasty and the Tang Dynasty since Gu Ye-wang, had the Gu Kuangs degraded to the humble landholder from the traditional scholar family. Wu County was Gu Kuang’s ancestral home and the systems of prefectures and counties. Gu Kuang’s native place was Danyang of Run County, while Haiyan of Su County was his place of habitation. Gu Kuang read and studied all kinds of books in the temples in the mountains near his hometown in his early ages. Gu Kuang successfully passed the imperial examination in the two year of Zhide at his thirty years old then he started to step on official career. After that he had an official tour in southern Yangzi River for many years, and was engaged in salt government affairs. He failed to achieve their ambition in their official careers because of the lower position. From the two year to four year of Dali, Gu Kuang made friends with Liu Hun and Li Mi. A solid friendship among them had a deep affection on Gu Kuang’s life. Later he became a member in the regime of Han Huang and took charge of the high-ranking assistant of the highest military officer as a very important role. In the three year of Zhenyuan when Liu Hun and Li Mi held the post of the prime minister in succession, Gu Kuang went into the imperial court and worked as a office as a proofreading official then he was promoted to a historiographer which was the highest post in his life. His political career in Changan was ended after three years when Liu Hun and Li Mi died in succession. Soon after, he was banished to Raozhou as SiHu CanJun. After years, he retired into the Mount Mao and become a Taoist priest formally because of the disillusionment of his revenge. Because of passing the flourishing age of Tang Dynasty to the middle Tang Dynasty, Gu Kuang had deep feeling about the disintegration of social life of Tang Dynasty. As many as intellectuals in that age, his thought showed a complicated trend of value because of the affection by Cultures of Taoism, Confucianism and Buddhism. On the other hand, the regional culture of Wuzhong influenced his thinking too. In a word, he was a craziness of Confucianism, a supernatural companion who came in Taoism and go out of Buddhism, and a versatile gifted scholar in Wuzhong. Contents of poetry of Gu Kuang were full and colorful. The Folk Songs exampled as Thirteen Chapters disclosed the social conflicts existed in that time, in which some extremely sharp and serious social problems such as peasant problems, war problems, corruption problems, and woman and children problems were presented. Its pattern that one or tow words of the first sentence were regarded as a title of this poem in front of which there was a preface was creative. Gu Kuang was good at explaining the music so that there was high artistry in his poems for music appreciation and had gained a great deal of experience for the later. His poems for painting in which permeating the painting experience and aesthetic temperament of himself embodied the aesthetic thought that he laid stress in the first person’s emotion-expressing. Furthermore, there contained the skill and aesthetics consciousness of distinctive quality of an artist in his landscapes poems. These poems had pictorial beauty. However, there were more lyrics expressing his individual subjective feelings. The mountain was a very constant image in the poems of Gu Kuang. It was an important starting point on which was helpful to grasping the features of aesthetics of his poems. The whole aesthetic style of Gu Kuang’s poems was complicated very much so they contained not only fresh and beautiful poems and high carefree poems with time features, but also that woks with plain and strange features out of his time. Gu Kuang’s poesies were collected into 20 volumes in Tang Dynasty but the preface written by Huang Fu-shi can only be found today. Much of his poetry was lost in the Song and Yuan Dynasty while only a part was saved by all sorts of large reference books and collections. Gu Kuang’s poesies were collected and perfected in the Ming and Qing Dynasty. There were three systems of edition passed. One edition system with 2 volumes included Poetry of Huayangzhenyi and Gu Kuang’s poetry anthology. Another edition system with 3 volumes only included Huayang’s Poetry with 1 volume of Gu Fei-xiong’s poetry as an appendix. The other circulation system named Poetry of Gubuweng formed from Tangying Tongqian Wuqian by Hu Zhenhen in the Ming Dynasty, later recorded by Poems of All Tang Dynasty, was an important approach to studies today.更多还原