【作者】 李丹；

【导师】 杜海军；

【作者基本信息】 广西师范大学 ， 中国古代文学， 2021， 博士

【摘要】 云南地处中国西南边疆,在自然山水间与人文古迹中,留下上自汉代、下迄民国的数千题石刻。这些石刻具有鲜明的地域特点,对云南地域文学的发展起着重要作用。云南石刻发展的历史进程与时间分布主要分为三个阶段:东汉至魏晋南北朝时期,体现少而精的特点,如“二爨碑”;唐宋时期,云南为南诏、大理国政权,石刻体现出鲜明的地域色彩,即“释儒”思想;元明清时期,受官方意识形态及汉文化的影响,石刻数量急剧增长,呈现出中原文化与地域文化交融之势。从云南石刻发展的地理环境与空间分布来看,集中分布于以水域为中心的滇池、抚仙湖、丽水地区;以山系为中心的乌蒙山、哀牢山、小怒山地区;以古道为中心的蜀身毒道、茶马古道沿线。总体而言,从时间分布与发展上来看,总体呈现出发展壮大之势,但与全国相比存在一定的滞后性。从空间分布与发展上来看,集中分布于政治经济中心地区,与全国石刻相比几乎一致。云南石刻的作者主要为本土作者和流寓作者,两个群体创作的石刻内容与思想上体现出一定的差异性。从本土作者来看,元代以前体现出鲜明的地域特点,流寓作者较少;明代时期不可忽视的是保山张志淳家族、丽江土司木氏家族、大理李元阳;清代末期时局动荡、风云变幻,赵藩、陈荣昌、袁嘉谷、李根源等人的石刻创作体现着边疆历史的变迁。从流寓作者来看,元代以前较少;明代较为突出的是沐氏家族;清代则多为入滇之官员,如阮元、宋湘。杨慎作为流寓作者的代表,谪戍边疆几十年,创作了内容丰富的石刻,具有独特的艺术价值。刻工是石刻完成的必备因素,从刻工的题署方式与身份判定来看,云南石刻刻工的题署方式大致有官职题署与非官职题署两类;从刻工的判定来看,从关键性的字词如“镌”“刻”“雕”“刊”“勒”等入手,并结合石刻的具体情况来作判断。云南石刻刻工在地域上也体现出明显特点,大理地区主要表现为本土家族式特点,以杨氏家族为主,既受中原文化影响,又深受本土宗教思想浸染,整体呈现多种文化思想并存之貌,石刻亦展现出多元文化,既有古朴典雅之墓志铭,又有充满异域色彩的梵文火葬墓碑;保山地区则表现为外地散点式特点,刻工来自各地,以金陵居多,多受中原文化影响,作品多为端庄秀丽、中正典雅的墓志铭。云南石刻在内容上体现出全面性、断续性与系统性、稀缺性之特点。从具体类别上看,墓葬类石刻体现着人们对于生死的态度与观念。从“生”的角度来看,体现着整个社会对生命价值的追寻,表现在石刻中便是对理想人格的塑造;从“死”的角度来看,则体现出超脱生死的死亡意识。宗教类石刻则表现出鲜明的宗教文化,龙泉观乃道教圣地,与之相关的石刻多吟咏唐梅;鸡足山为佛教圣地,僧人行鑑、大错和尚、虚云和尚的石刻创作体现融佛禅之理于一炉的特点;武侯祠是人们为了纪念诸葛亮南征而建,与其相关的石刻体现鲜明的诸葛亮崇拜之特点,滇中地区对诸葛亮是圣人教化之功的崇拜;滇西地区则是对于神明庇庥之功的崇拜。戏曲类石刻则记录了云南古代戏曲的演出目的、时间、场地、戏班、剧目等相关信息,是不可多得的珍贵文献。云南石刻诗文具有鲜明的文学特点。石刻诗形式上灵活多样,有歌行体、五绝、五律、七绝、七律及古体诗等;在整体风格上体现出秀美深沉的特点,吟咏景物时秀丽多彩,抒发怀抱则深沉浓郁。云南石刻中有一类特殊的诗歌“山花体”,以汉字记古白语,句式上以“七、七、七、五”为主,内容则以大理地区的风俗信仰为主,具有独特的文学性。石刻文则主要包括记体文与碑志文两类:记体文则以游记为主,在记人记物上传神生动,在记景时则多为托物抒怀。碑志文主要以墓碑文为主,塑造了一些具有美好品格与德行的人物形象;在谋篇布局与语言上,采用虚实结合的艺术手法,于碑文中穿插用典,使墓碑文典雅生动。石刻具有丰富的文学价值。从文献角度看,元代以前,云南文学中的传统纸质文献留存较少,石刻文献一定程度上补足云南文学文献的缺环与不足;宜良草甸的几通碑刻,是稀缺的戏曲史料,为研究古老剧种“关索戏”及“斋戏”“花灯”提供了可依据的线索。从文体角度看,白族诗歌文体“山花体”,从形式与内容及内容的表现方式上都具有独特性,是大理白族特有的一种文体;摩崖榜书、题名也是两种与石质载体密不可分、在行文结构及表现方式上有着独特性的两种文体,补充着纸质文献文体的不足。从文学传播看,石刻有助于将文学作品突破时空限制传播到世界各地,并实现“隔空对话”,这也是形成地域文学所不可缺少的环节。综上所述,云南石刻产生于云南独特的环境之中,经过历史的发展形成时间和空间分布上的显著特点,以其独具特色的创作群体,成就不可忽视的文学价值、文献价值、文化价值,反映出中原文化与边疆文化的相互影响,也体现着汉族文化与少数民族文化的相互影响,是研究云南地域文学与文化中不可缺少的重要部分。更多还原

【Abstract】 Yunnan province is located in the southwestern frontier of China,Thousands of stone carvings dating from the Han Dynasty to the Republic of China have been left in the natural landscape and cultural relics.These stone carvings have distinct regional characteristics and play an important role in the development of Yunnan regional literature.The historical process and time distribution of Yunnan stone carving can be divided into three stages:the Eastern Han Dynasty to the Wei,Jin and Southern and Northern Dynasties,showing the characteristics of few but exquisite,such as"Er cuan stele";During the Tang and Song Dynasties,Yunnan was governed by Nan zhao and Dali kingdoms,and the stone carvings reflected a distinct regional color,namely the thought of"Buddhism and Confucianism".During the Yuan,Ming and Qing Dynasties,under the influence of official ideology and the culture of the Han ethnic group culture,the number of stone carvings increased sharply,showing the trend of the integration of Central Plains culture and regional culture.From the perspective of geographical environment and spatial distribution of the development of Yunnan stone carvings,they are mainly distributed in Dianchi Lake,Fuxian Lake and Lishui with water as the center.Wu meng Mountain,Ai lao Mountain and Xiao nu Mountain areas with mountain system as the center;The ancient road as the center of the Shu-Hindu Road,Ancient Tea Route.In general,from the perspective of time distribution and development,the overall trend of development is growing,but there is a certain lag compared with the whole country.From the perspective of spatial distribution and development,they are concentrated in the political and economic center,which is almost the same as the national stone carvings.The authors of Yunnan stone carvings are mainly local writers and migrant writers,and the content and thoughts of the two groups show certain differences.From the point of view of local authors,before the Yuan Dynasty,there were distinct regional characteristics.In the Ming Dynasty,there were Zhang Zhichun’s family in Bao shan,Local officials Mu’s family in Li jiang and Dali’s Li Yuanyang that could not be ignored.At the end of the Qing Dynasty,the situation was turbulent and changeable.The stone carving works of Zhao Fan,Chen Rong chang,Yuan Jia gu,Li Gen yuan,etc.,reflected the historical changes of the frontier.From the perspective of the writer in the residence,there were few before the Yuan Dynasty.In Ming Dynasty,the Mu’s family was more prominent.In the Qing Dynasty,most of them were officials who entered Yunnan,such as Ruan Yuan and Song Xiang.Yang Shen,as a representative of the writers living in exile,was banished to the frontier for several decades.He created rich stone carvings with unique artistic value.Carver is a necessary factor for the completion of stone carving.From the way of inscription and identity determination,there are two types of inscription of Yunnan stone carving workers:official inscription and non-official inscription.From the judgment of engraving,from the key words such as"juan","ke","diao","kan","Le"and so on,and combined with the specific situation of stone carving to make a judgment.The Yun nan stone inscription also reflect obvious regional characteristic,Dali area mainly for local family characteristics,give priority to with Yang’s family,influenced by central plains culture,both native and deeply religious thought,the present the appearance of a variety of culture ideology coexist,carved stone also show a multicultural,both the epitaph of of primitive simplicity and elegant,and full of different region colorific Sanskrit cremation gravestones;The Bao shan area is characterized by scattered points from other places.The engravers come from all over the world,most of them from Jin ling,and most of them are influenced by Central Plains culture.The works are mostly dignified,beautiful and elegant epitaph.The contents of Yunnan stone carvings are characterized by comprehensiveness,discontinuity,systematicness and scarcity.From the specific category,the tomb stone carving reflects people’s attitude and concept towards life and death.From the perspective of"life",it reflects the pursuit of the value of life by the whole society,which is reflected in the stone carving to shape the ideal personality.From the perspective of"death",it reflects the death consciousness detached from life and death.Religious stone carvings show distinct religious culture.Long quan Temple is a sacred place of Taoism,and the stone carvings related to it mostly chant Tang Mei.Ji zu Mountain is a sacred place of Buddhism.The stone carving creations of monks Xing Jian,Da Cuo Monk and Xu Yun Monk embody the characteristics of integrating the principles of Buddhism and Zen into one.The temple of Wu hou was built to commemorate Zhu ge Liang’s southern march.The stone carvings related to it reflect the distinctive characteristics of Zhuge Liang’s worship.The worship of Zhuge Liang as a saint in central Yunnan.In the west of Yunnan,the worship of the deities was carried out.The opera stone carving records the performance purpose,time,venue,troupe,repertoire and other relevant information of Yunnan ancient opera,which is a rare and precious document.Yunnan stone carved poetry and prose has distinct literary characteristics.The forms of stone poems are flexible and varied,including songs and lines,Five Magical,Five Rhythm,Seven Magical,Seven Rhythm and ancient style poems.In the overall style,the body shows the characteristics of beautiful and deep.When chanting scenery,it is beautiful and colorful,while expressing the embrace is deep and rich.There is a special kind of poetry"Shan hua ti"in Yunnan stone inscriptions,which uses Chinese characters to remember The language of the ancient Bai ethnic group,mainly uses"7,7,7,5"in sentence pattern,and mainly focuses on the customs and beliefs of Dali area in content,which has unique literary characteristics.On the other hand,stone inscription mainly includes two types of narrative prose and inscriptions on tablets.The narrative prose on stone inscription mainly focuses on travel notes,which is vivid in remembering people and things,while writing on scenery is mostly expressing oneself by supporting things.The inscriptions are mainly tombstone inscriptions,which create some characters with good character and virtue.In terms of layout and language,the inscriptions are interspersed with allusions to make the inscriptions elegant and vivid.Stone carvings are of rich literary value.From the document point of view,before the Yuan Dynasty,the traditional paper document in Yunnan was rarely preserved,and stone engravings made up for the deficiency of Yunnan documentto some extent.The inscriptions on several steles in Cao Dian of Yi liang county are rare historical data of operas,which provide a reliable clue for the study of ancient operas"Guan Suo Opera","Zhai Opera"and"Hua Deng".From the stylistic point of view,"Shan hua ti",a poetry style of Bai ethnic group,is unique in form,content and expression.It is a unique style of Bai ethnic group in Dali.Mo ya bang shu and Autograph are also two types of literary style closely related to the stone carrier and unique in terms of writing structure and expression,which supplement the insufficiency of paper literature style.From the perspective of literary communication,stone carving helps to spread literary works to different parts of the world through the limitation of time and space,and to realize"dialogue between space and space",which is also an indispensable link in the formation of regional literature.To sum up,Yun nan stone carvings produced in the unique environment,through the development of history,the formation of the distinctive features of time and spatial distribution of the,with its unique creative groups,achievements of literature value,document value,cultural value,reflects the central plains culture and the frontier culture influence each other,also reflect the Han ethnic group and minority cultures influence each other,It is an indispensable and important part in the study of Yunnan regional literature and culture.更多还原