论《江南春》唱和的体式及其文化意味

发布时间：2018-05-22 11:44

本文选题：江南春 + 吴中　；参考：《南京师大学报(社会科学版)》2017年02期

【摘要】：明代吴地文人对于倪瓒《江南春》的唱和,是吴中文坛的一件胜事。本文认为,《江南春》是诗而非词,是两章而非三首。因为倪瓒野逸人格的魅力和“江南春”题目的包容性,遂使得这一首普通的题画诗,经江南文人的群起追和,成了一种不可取代的文化符号与文学经典。《江南春》唱和的文化意味,就在于通过沈周、祝允明、文征明等人的次第追和,吴地文人自觉不自觉地发现或发掘出了带有吴文化性格的精神意脉;同时也意味着他们通过“选边站队”、“集体发声”的方式,昭示着“江南文化共同体”的存在,表现了吴地文人拥江南文化以自重,宁作偏裨、自领一队的文化姿态。
[Abstract]:The singing and harmony of the literati to Ni Zan (Jiangnan Spring) in the Ming Dynasty was a victory in the literary circles of Wu Zhong. This paper argues that Jiangnan Chun is a poem rather than a word, two chapters rather than three. Because of the charm of Ni Zan's wild and easy personality and the inclusiveness of the title of "Jiangnan Chun", this ordinary painting poem was followed up by the literati in the south of the Yangtze River. It has become an irreplaceable cultural symbol and a literary classic. The cultural implication of singing harmony lies in the secondary pursuit and harmony of Shen Zhou, Zhu Yunming, Wen Zhengming, and others, such as Shen Zhou, Zhu Yunming, Wen Zhengming, and others. Does the literati in Wu consciously discover or excavate the spiritual and emotional pulse with Wu culture character; at the same time, it also means that they show the existence of "Jiangnan Cultural Community" through the way of "choosing sides and standing in line" and "collective voice". Wu literati support the Jiangnan culture in order to respect themselves, prefer to make a partial au pair, and lead a team of cultural posture.
【分类号】：I207.2

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