| 22 | 0 | 25 |
| 下载次数 | 被引频次 | 阅读次数 |
“登临”是中国古代诗歌的经典事象之一,具有独特的诗性文化和诗歌形态。“登临”并非静止的物象,而是一个融合了行为、时空和情感的动态叙事性片段。它从祭祀等宗教性集体仪式,逐步转向个人抒发情感的载体,最终演变为一个意义深厚的象征符号。诗人通过对标志性行为动作片段的提炼、借助古今交汇的历史语境和开拓垂直空间结构等方式进行诗性的呈现和书写,从而构建一个立体的诗歌事境。具体而言,“登临”这一事象构建了怀乡、怀古、寄志三大典型诗境:一是怀乡,登高望远打破视野的空间桎梏,从而引发诗人对故土的深切眷恋;二是怀古,登临古迹勾连今昔时空,促使诗人抒发世事变迁、王朝兴废的历史感慨;三是寄志,依托登临所见的高远壮阔之景,寄寓自身的理想抱负与人生情志。“登临”逐步成为古代文人寄托心绪、抒发情志的重要文学载体。这一经典事象的分析有利于印证事象理论对古典诗歌叙事特征的阐释力,深挖诗词背后人文脉络与精神底蕴,进而全面认识诗歌的艺术特质与文化内核。
Abstract:“Ascending for a distant view” is a classic poetic motif in ancient Chinese poetry, which carries distinctive poetic culture and artistic expressions. It is not a static visual image, but a dynamic narrative unit that integrates behaviors, time, space and emotions. Derived from religious collective rituals like sacrificial ceremonies,ascending for a distant view gradually turned into a carrier for individual emotional expression, and eventually developed into a profound symbolic motif. Poets shape this motif artistically by refining typical behavioral scenes,drawing on historical contexts linking the past and present, and creating vertical spatial structures, so as to build a three-dimensional poetic realm. Specifically, this motif forms three representative poetic realms. The first is nostalgia for home: ascending for a distant view breaks spatial restrictions and stirs poets' deep nostalgia for their hometowns. The second is nostalgia for the past: visiting historic sites links the past with the present, inspiring reflections on historical vicissitudes and the rise and fall of dynasties. The third is aspiration expression: inspired by the grand and sublime views from heights, poets convey their ideals, ambitions and life sentiments. For generations,ascending for a distant view has served as a major literary carrier for ancient scholars to voice inner thoughts and emotions. Analysis on this classic motif can verify the explanatory power of motif theory for the narrative features of classical poetry, explore the humanistic context and spiritual connotation of poems, and help readers fully understand their artistic characteristics and cultural core.
[1]周剑之.事象与事境:中国古典诗歌叙事传统研究[M].北京:商务印书馆,2022.
[2]周振甫.诗经译注[M].北京:中华书局,2013.
[3]全唐诗[M].北京:中华书局,1999.
[4]全宋诗[M].北京:北京大学出版社,1991.
[5]张养浩.张养浩作品选[M].薛祥生,孔繁信,选注.北京:人民文学出版社,1987.
[6]周剑之.陆游晚年乡居诗歌中的日常事象群与生活秩序感[J].华南师范大学学报(社会科学版),2025,(05):19-28+207.
[7]刘晓.“回首”的诗学:杜诗中的“回首”事象及诗境建构[J].求是学刊,2024,51(04):159-169.
[8]吕梅,吕昱衡.唐宋诗歌中的“夜直”事象及其衍变[J].中国韵文学刊,2025,39(01):26-33.
[9]周剑之.论苏轼诗歌中的事境式比喻[J].海南大学学报(社会科学版),2026,44(1):26-33.
[10]唐芸芸.翁方纲诗歌“以考据入诗”辨——兼论“事境”说[J].井冈山大学学报(社会科学版),2017,38(03):112-119.
[11]许慎.说文解字[M].北京:中华书局,2013.
[12]司马迁.史记[M].北京:中华书局,2006.
[13]左传[M].郭丹,译.北京:中华书局,2014.
[14]俞平伯.唐宋词选释[M].北京:人民文学出版社,2005.
[15]刘勰.文心雕龙[M].王志彬,译.北京:中华书局,2014.
[16]先秦汉魏晋南北朝诗[M].逯钦立,辑校.北京:中华书局,1983.
[17]高克勤.王安石诗文选评[M].上海:上海古籍出版社,2017.
[18]清诗选[M].福建师大中文系古典文学教研室,选注.北京:人民文学出版社,1997.
[19]葛晓音.山水田园诗派研究[M].沈阳:辽宁大学出版社,1997.
[20]邱晓.唐代登高诗研究[D].西安:西北大学,2011.
[21]孙绍振.由《登高》的沉郁顿挫谈近体诗的意脉转折[J].语文建设,2025,(09):44-47.
[22]李泽厚.美的历程[M].北京:生活·读书·新知三联书店,2009.
[23]方东树.昭昧詹言[M].北京:人民文学出版社,2006.
[24]殷学明.中国诗学中的事境说[J].河北大学学报(哲学社会科学版),2020,45(06):30-35.
[25]邓绍基.金元诗选[M].北京:人民文学出版社,2005.
[26]郁贤皓.李白选集[M].上海:上海古籍出版社,2013.
[27]薛芳芸.唐代登临诗初探[J].山西大学学报(哲学社会科学版),2006,(02):46-49.
[28]建安七子集[M].俞绍初,辑校.北京:中华书局,1989.
[29]叶嘉莹.唐宋词十七讲[M].石家庄:河北教育出版社,1997.
[30]谢榛.四溟诗话[M].北京:中华书局,1985.
[31]江嘉楠.“十台诗”考论[J].长江师范学院学报,2024,40(3):125-132.
[32]杨有山.同中有异各擅胜境——崔颢《黄鹤楼》与李白《登金陵凤凰台》诗比析[J].名作欣赏,2005,(11):91-93.
[33]仇兆鳌.杜诗详注[M].北京:中华书局,2015.
[34]明诗别裁集[M].沈德潜,周准,编.上海:上海古籍出版社,2013.
[35]隋书·经籍志[M].长孙无忌,魏徵,李延寿,等.北京:中华书局,1985.
[36]孟子[M].方勇,译注.北京:中华书局,2010.
[37]俞陛云.诗境浅说[M].北京:北京出版社,2003.
[38]陈宁,房锐.杜诗叙事画论析——以成都杜甫草堂博物馆馆藏绘画为中心[J].重庆文理学院学报(社会科学版),2025,44(1):127-140.
(1)本文唐诗与宋诗中“登临”事象的统计数字是通过北京大学数据分析研究中心开发的“全唐诗分析系统”和“全宋诗分析系统”检索而来。
基本信息:
中图分类号:I207.22
引用信息:
[1]王敏.中国古代诗歌中“登临”事象的诗学阐释[J].重庆文理学院学报(社会科学版)().
2026-06-15
2026-06-15
2026-06-15