|
|
|
| The Artistic New Quality and Emotional Orientation of Song Dynasty Ancient Artifacts Poetry |
| ZHU Xin-liang |
| College of Literature, Hebei University, Baoding, Hebei, 071000 |
|
|
|
|
Abstract Ancient artifact poetry refers to a type of poetry that is written on various tools that combine historical significance and practical value. This type of poetry, rich in knowledge and interest, gradually flourished during the Tang and Song dynasties. The themes of ancient artifact poetry in the Tang Dynasty focus on two types of artifacts: “Ancient Swords” and “Ancient Mirrors”. The poetry of ancient artifacts in the Song Dynasty underwent several changes in writing content compared to the Tang Dynasty, while continuing the original themes in the Tang Dynasty, which is manifested in the enlargement of ancient artifact writing subject matter, the refinement of ancient artifact classification, the tokenization of ancient artifact unearthed, and the appearance of ancient artifact inscriptions and inscriptions. Gexing style is a common genre of ancient utensil poetry in the Tang Dynasty. Relying on the most expressive and lyrical seven-character songs, Tang Dynasty ancient utensil poetry is full of romantic, unrestrained and magnificent artistic color. The proportion of the Song Dynasty ancient utensils poems who choose the song style has decreased, and the probability of choosing the Wugu and recent poems has increased significantly, which makes the Song Dynasty ancient utensils poems heavier and bland than the Tang Dynasty poems. This is mainly due to the legendary and lyrical style of the song, as well as the strong emotional tone. Song people had a lot of exposure to ancient artifacts, which led to a calm mood. The restrictive nature of lyric titles in conveying emotions and meanings was also not conducive to Song poets using poetry as a medium to participate in interpersonal communication. The ancient artifact poems of the Tang Dynasty did not convey too much personal emotion, This writing tendency was broken in the middle of the Northern Song Dynasty by scholar groups such as Liu Chang and Mei Yaochen, who gathered to appreciate and play with the ancients, created numerous poems documenting group gatherings and antique appreciation, and began to express their deep emotions in the poetry of ancient artifacts, showing their interest in appreciating ancient artifacts and looking back on history.
|
|
Received: 10 July 2024
|
|
|
|
|
|
[1] (清)段玉裁.说文解字注[M].上海:上海古籍出版社,1988.86.
[2] 周礼[M]周礼[M].(汉)郑玄注,(唐)贾公彦疏,彭林整理.上海:上海古籍出版社,2010.1452.
[3] 邓淞露.古物:宋代的诗歌与审美心态[J].安徽大学学报,2021,(3):43-53.
[4] 王国维卷[M]王国维卷[M].彭林编.北京:中国人民大学出版社,2014. 19.
[5] 全宋诗(第11册)[M].北京大学古文献研究所编.北京:北京大学出版社,1998.7197.
[6] 全宋诗(第18册)[M].北京大学古文献研究所编.北京:北京大学出版社,1998.12213.
[7] (明)徐师曾.文体明辨序说[M].罗根泽校点.北京:人民文学出版社,1962.
[8] 历代诗话[M].(清)何文焕辑.北京:中华书局,1981.
[9] (明)王世贞.艺苑卮言[A].历代诗话续编[M].(清)丁福保辑.北京:中华书局,2006.960.
[10] 全唐诗(第21册)[M].北京:中华书局,1980.8475.
[11] 孙望. 韦应物诗集系年校笺[M].北京:中华书局,2002. 523.
[12] (汉)司马迁.史记[M].裴骃集解,司马贞索引,张守节正义.北京:中华书局,1959.2493.
[13] 葛晓音. 初盛唐七言歌行的发展——兼论歌行的形成及其与七古的分野[J].文学遗产,1997,(5):47-61.
[14] 苏轼全集校注[M]苏轼全集校注[M].张志烈,马德富,周裕锴主编.石家庄:河北人民出版社,2010.2599.
[15] (宋)梅尧臣.梅尧臣集编年校注[M].朱东润编年校注.上海:上海古籍出版社,2006.
[16] 全宋诗(第9册)[M].北京大学古文献研究所编.北京:北京大学出版社,1998.
[17] 徐飚. 宋人对古代器物的研究[J].南京艺术学院学报(美术与设计版),2006,(5):35-38. |
|
|
|
2024, Vol. 41 
