基于历史源流下的花间词派风格溯源
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摘要
基于历史的视角探索花间词派风格及源流问题,正视花间词派对词发展的重要意义十分重要。花间词派在名称、风格基调以及历史地位研究方面众说纷纭,其上下历时一百多年,词派之中基于不同文化生境形成的群落又构建了不同的流派,这些对花间词派的风格影响巨大。《花间集》作为花间词派作品的代表,能够充分体现花间词的风格特点,但是只有将《花间集序》与之结合才能够发现,花间词派在风格上的源头创立艳科传统,并敢于跳转传统言志词的成因,也真正揭示了花间词派在推动词创作与发展方面的重要性。
It is very important to explore the style and origin of Huayuan Ci School from the perspective of history, and to face up to the important significance of the development of Huayuan Ci Party Ci. There are different opinions on the name, style and historical status of Huayuan Ci School, which lasted for more than a hundred years, and formed different schools based on different cultural habitats.These have great influence on the style of Huayuan Ci School. As the representative of Huayuan Ci School, it can fully reflect the style characteristics of Huayuan Ci, but it can be found only by combining the order of Flower set with it. The origin of the style of Huayuan ci School is the tradition of Yan Ke, and dares to do so. Jump to the causes of traditional words. It also reveals the importance of Huayuan Ci School in promoting the creation and development of Ci.
It is very important to explore the style and origin of Huayuan Ci School from the perspective of history, and to face up to the important significance of the development of Huayuan Ci Party Ci. There are different opinions on the name, style and historical status of Huayuan Ci School, which lasted for more than a hundred years, and formed different schools based on different cultural habitats.These have great influence on the style of Huayuan Ci School. As the representative of Huayuan Ci School, it can fully reflect the style characteristics of Huayuan Ci, but it can be found only by combining the order of Flower set with it. The origin of the style of Huayuan ci School is the tradition of Yan Ke, and dares to do so. Jump to the causes of traditional words. It also reveals the importance of Huayuan Ci School in promoting the creation and development of Ci.
引文
[1]林洁.花间词的道教题材及其文化意蕴[J].遵义师范学院学报,2010,(10):112.
[2]李朝阳.论莫友芝的词学观念[J].遵义师范学院学报,2012,(2):110-114.
[3]陈文新.论文学流派与总集的三种关系——以《花间集》《西昆酬唱集》《江湖集》为例[J].厦门广播电视大学学报,2014,17(2):33-38.
[4]乔孝冬,沈文嘉,张海红.从温词的《花间》少女到柳词的《乐章》少妇——温庭筠与柳永艳情词风格之比较[J].连云港师范高等专科学校学报,2011,28(1):18-21.
[5]张蔚,李燕.“词如花间美人”——浅析王实甫《西厢记》的风格特色[J].文史博览(理论),2009,(11):21-23.
[6]赵丽.论道教音乐对花间词风格的影响[J].北方论丛,2008,(4):22-24.
[7]喻芳.“淡妆浓抹总相宜”——论花间词的色彩美[J].成都理工大学学报(社会科学版),2007,(3):17-20.
[8]陈如静.末路奇葩,香飘后世——论花间词的风貌特征及在词史上的意义[J].牡丹江师范学院学报(哲学社会科学版),2006,(3):20-21.
[9]董希平.词集的出现与词之主体风格的形成——试论晚唐五代词体演进的一个重要标志[J].清华大学学报(哲学社会科学版),2004,(6):65-71.
[2]李朝阳.论莫友芝的词学观念[J].遵义师范学院学报,2012,(2):110-114.
[3]陈文新.论文学流派与总集的三种关系——以《花间集》《西昆酬唱集》《江湖集》为例[J].厦门广播电视大学学报,2014,17(2):33-38.
[4]乔孝冬,沈文嘉,张海红.从温词的《花间》少女到柳词的《乐章》少妇——温庭筠与柳永艳情词风格之比较[J].连云港师范高等专科学校学报,2011,28(1):18-21.
[5]张蔚,李燕.“词如花间美人”——浅析王实甫《西厢记》的风格特色[J].文史博览(理论),2009,(11):21-23.
[6]赵丽.论道教音乐对花间词风格的影响[J].北方论丛,2008,(4):22-24.
[7]喻芳.“淡妆浓抹总相宜”——论花间词的色彩美[J].成都理工大学学报(社会科学版),2007,(3):17-20.
[8]陈如静.末路奇葩,香飘后世——论花间词的风貌特征及在词史上的意义[J].牡丹江师范学院学报(哲学社会科学版),2006,(3):20-21.
[9]董希平.词集的出现与词之主体风格的形成——试论晚唐五代词体演进的一个重要标志[J].清华大学学报(哲学社会科学版),2004,(6):65-71.