【作者】 温吉弟；

【导师】 尹占华；

【作者基本信息】 西北师范大学 ， 中国古代文学， 2009， 硕士

【摘要】 有宋一代,在文化高度繁荣之际,词这种文学得到了空前发展,成为一代之文学。就地域论,江西籍词人众多,词作斐然,在两宋词坛占据重要地位;仅就北宋观,在当时,词人人数仅居浙江之后,位于第二。不仅如此,他们以杰出的词作,多样的风格体制,为北宋词坛的发展繁荣做出了突出贡献。北宋江西籍词人具有较强的地域文化传承意识和创新精神,他们在继承五代南唐词风的基础上,在词中更多的灌注了自己的审美理念和时代精神。既写男女之情、离愁别恨,更寓个人情致、性灵于其中;既有绸缪宛转之度、蕴藉含蓄之风,亦有清新淡远之韵、疏放豪迈之气;小令为其主体,间有慢词创作。北宋江西籍词人,在词这种文体的发展演变史上,起着承前启后,继往开来的重要作用。透过北宋江西籍词人创作,可以窥视当时词坛演进的基本风貌。北宋“江西”当只限于其时江南西路,以此而论,江西籍词人实为晏殊、王益、陈彭年、欧阳修、刘敞、曾巩、王安石、王安国、王安礼、曾布、黄大临、王雱、黄庭坚、黄叔达、孔文仲、曾肇、吕南公、刘弇、晏几道、惠洪、曾纡、谢逸、谢薖、欧阳珣、蔡枏,共计二十五位词人。其中,有词集者8人。已知词作716首。北宋江西词人众多,词作斐然,首先在于南唐为江西文化的崛起奠定了较为坚实的经济文化基础;其次,离不开当时经济文化教育的发展。就词人创作源流而论,北宋江西籍词人晏殊、欧阳修、晏几道等,上承南唐词风,完成了由南唐词风向北宋词格的变化;王安石完全摆脱了晚唐五代的花间词风,洗尽铅华,其词渐渐背离了宋初晏欧所传承的传统词风,走着“以诗为词”的路子;黄庭坚踵武其后,转益多师,同时在词中融入“江西诗派”作诗之法,其词亦雅亦俗,豪放与婉约兼备,在雅俗词风之对立中,自我独立。从晏殊到黄庭坚,反映了北宋词坛由继承传统词风到创新变革的发展历程。就词人创作论,晏殊于富贵优游的环境中,抒写着留连诗酒、歌舞升平的内容,表达着富贵闲雅的情趣,其词有着娴静优美的风度,达到了情中有思的境界,珠圆玉润,温润秀洁。欧阳修在继承南唐词风之际,扩大了词的题材范围,提高了词的表现手法,在词中抒发感慨、赠别答友、咏史吊古,“以诗为词”初现端倪;其词风深婉挚厚,疏宕明快。晏几道词为南唐词绝响,多为对往昔恋情的追忆,身世蹉跎和怀才不遇的抒发,真挚深切、沉郁悲愤,时时流露出哀怨凄凉的伤感情调。素有“矫世变俗”之志的王安石,藉词以书写人生感怀、生活际遇,其所作之词与时俗大异其趣,不作艳语、绮语,以己诗为己词,“别是一家”。庭坚词在北宋词坛别具一格,内容丰富,风格多样;既有写男女情事、风流狎昵的词篇,又有在更广阔的背景上抒写人生的贬谪词,还有风格独特的咏物词和题赠词;他敢于突破词的主流的藩篱,以诗法入词,其词具有刚柔相济的艺术风格,亦雅亦俗的语言特色。北宋后期江西籍词人谢逸,词作内容多涉男女之情、隐逸生活、故乡山水,词风雅而不俗、轻倩飘逸、意境清远。谢逸之弟谢薖,其词擅活用事、典,化前人诗意,往往写景、叙事、抒情、议论结合无间,是“以诗为词”的又一典范;其咏物词往往托物咏怀,特具清新蕴藉,含蓄委婉的风貌。释惠洪作词不忘世情,其词既写禅思禅趣,又抒凡俗之情;其抒写凡俗之情的词作,毫不忌讳,大胆直露,以婉约工致、情真意切见长,为当时僧俗生活的间接反映。其余北宋江西籍词人词作或继承前代词风,或受同时代其它词人影响,风格各异,异彩纷呈。更多还原

【Abstract】 In the Song Dynasty, when its culture was at its best, the ci poetry developed unprecedentedly and became a remarkable form of literature. Geographically, there were many ci poets from Jiangxi, who were more active and played an important role in the ci field of Two Song Dynasties. In the Northern Song Dynasty alone, the number of the ci poets from Jiangxi was the second largest, merely behind Zhejiang Province. What is more, their works which were brilliant in quality and rich in style made outstanding contributions to the development and prosperity of the ci field in the Northern Song Dynasty. The ci poets from Jiangxi had more than a strong sense of local traditional culture. They boasted the spirit of creativity. They did not only inherit the style of ci in Wudai and Southern Tang Dynasties, but put their own ideas of beauty and update spirits into their ci peoms. In terms of images, their ci poems ranged from love affairs up to personal emotions. The styles varied from indirect expressions and simplicity up to boldness. Xiaolin dominated as the main body but with "man ci" at intervals. The ci poets from Jiangxi play an important part in linking the past to the future in the development of the ci poetry as a form of literature. We can get a whole view of evolution of the ci peotry by looking at the ci poets from Jiangxi.Jiangxi in the Nothern Song Dynasty just refers to the western region south of Changjiang River. If so, the ci peots from Jiangxi are made up of 25 people, who are Yan Shu, Wang Yi, Chen Pengnian, Ouyang Xiu, Liu Chang and so on, 8 of whom produced collections of poems. So far 716 poems have been found. That there were so many ci poets from Jiangxi and many peoms by them resulted from the solid cultural and economic foundation in Southern Tang dynasty and the development of culture and economy in Northern Song Dynasty .In terms of the origin of composition, Yanshu, Ouyang Xiu, Yan Jidao and so on inherited the poem style of Southern Tang and finished transferring from Tang poem to Song ci. Wang Anshi broke away from the flower style of Tang and composed ci in the form of poems. Huang Tingjian combined something vulgar with something elegant and turned out to be independent in style. From Yan to Huang means the process from the traditional style to a new style. In terms of composition, Yan lived a rich and cosy life, whose poems reflected mainly the life of rich people, like drinking, writing, dancing and the mood of carefree, and whose style was quiet and refined, emotional but full of thoughts. Ouyang’s contributions lie in the facts that he not only enlarged the range of themes but invented expressing techniques. Yan Jidao’s poems were mainly about his sweet memory of the past and his bad luck (he was talented but was not used), so they were basically sad in style. Wang Anshi wrote to express the sufferings of life and thoughts of life and the combination of vulgar and elegant made him independent from others in style. Huang Tingjian was very similar to Wang in style, but his themes ranged more largely, from love affairs to life sufferings to everything. Xie Yi’s works mainly involved romantic stories as well as the life of a hermit and housed personal emotions in nature, who was detached in style. The combination of descriptions of scenes, narration, lyrics and comments characterizes the style of Xie Yi’s brother, Xie Ke. Huihong was a monk, but he didn’t avoid writing about love while enjoying himself by describing "Chana"; else, his works about earthly love was bold and direct. The other poets from Jiangxi in Northern Song dynasty, who either inherited the traditional style of the last dynasty or were influenced by the poets in the same times, varied from one to another in style.更多还原