作　　者： ;

机构地区： 湖北大学文学院

出　　处： 《文学遗产》 2004年第2期59-69,共11页

摘　　要： 周邦彦工于体物 ,宋人强焕称其词“模写物态 ,曲尽其妙” ,其咏物名作《六丑·蔷薇谢后作》、《花犯·梅花》、《兰陵王·柳》等 ,在宋代就享有盛誉。本文将其咏物词置于宋代咏物词发展演进的大背景之下进行深入细致的考察 ,认为其咏物词在三个方面大大突破了他的前辈。第一 ,创作主体深度介入 ,创作主体与表现对象成为咏物词表现的共同“主体” ;第二 ,打破旧的咏物词创作运思程式 ,在章法结构上有较大突破 ;第三 ,周邦彦在咏物词表现手法上对前人亦有较大突破。 Zhou Bangyan was apt to describe things as said his contemporary Qiang Huan: Zhou Bangyan's ci-poetry'excellently imitating the gesture of things ', such as Writing after Rose Fading: Sixth Ugliness, Plum Blossoms: Flowerly Criminals, Willow Trees: King of Lanling, etc.which were all renowned in the Song dynasty. This text examines Zhou Bangyan's descriptive ci-poetry in a broad background of such a stylist literary genre in the Song dynasty, and regards the former one surpassing its precedents in following three aspects: First, the ci-poet himself, being a common 'subject' with the descriptive object of the work, came into the poetic situation at a great length; Secondly, it broke through the creating and conjecturing routines and formed its unique structuring methodology. Thirdly, the artistic technique of Zhou Bangyan's descriptive ci-poetry went quite far ahead of that of his precedents.

关 键 词： 周邦彦 咏物词 章法结构 表现手法 艺术风格

领　　域： [文学]