【作者】 祝良文；

【导师】 黄珅；

【作者基本信息】 华东师范大学 ， 中国古代文学， 2005， 博士

【摘要】 本文以文本为中心,系统地研究初唐宫廷诗的发展演变过程,探讨其与政治、文化的关系;并从文化与文学的结合点上,考察在南北文化发展,尤其是文学和儒学结合的背景下,初唐宫廷诗是如何从繁荣走向衰落的,从另一个侧面揭示初唐百年间诗歌由于性情、声色和社会责任感的逐步完善而过渡到盛唐的嬗变轨迹。 全文分上下两编,上编为论,下编为诗歌编年考订。论分为主干四章、引言及余论三个大部分。引言部分总论初唐宫廷诗和宫廷诗人。宫廷诗,主要是指文学侍从或重臣在宫廷范围内作的诗歌,同时包括他们在宫廷外作的部分作品,以及那些本不属于宫廷圈子里的文人所作但带有明显宫廷风格的诗作。宫廷诗人本质上是皇帝文学侍从。这两点对宫廷诗的特征和嬗变起着基本的决定作用。本文以文本为主要依据,结合政治和文化,把初唐宫廷诗的下限划在开元八年。此前宫廷诗的诗史地位很高,主要表现在对律诗及非宫廷诗的影响上,但也存在着因袭模仿,绮绘有余,微乏韵度的缺陷,这主要是宫廷诗创作环境决定的。初唐宫廷诗的盛行主要是由于帝王的提倡和它的功利性目的决定的,此外,宫廷诗人自身文化素质和当时的文化建设如文馆学士建设、频繁的修撰也促进了宫廷诗的创作。 第一章至第四章,重点阐述初唐宫廷诗的嬗变轨迹。贞观前期的宫廷诗以箴规为主,诗歌崇尚雅正。贞观中期,因为国家形势的变化,诗歌风尚由雅正向文华转变,特别是对以经世致用为根本立身精神的山东寒族的抛弃,最终决定了箴规的隐退和颂美的崛起。贞观以后,因为高宗武后时期由于人士结构的变化,类书的修撰,帝后好大喜功以及“诗赋取士”,颂体诗得以大行其道。贞观后期至高宗武后时期的宫廷诗以颂美为主。但是龙朔诗风的主要内容应该是以许敬宗为代表的“颂体诗”,而非“上官体”。武周代唐后,一方面,由于武后的恐怖政策和用人之失,谄媚之颂体诗得以延续;另一方面,由于社会经济的发展和城市生活的繁荣,以及骨鲠之士的存在,盛世情怀在宫廷诗中有所表现。中宗朝后,宫廷诗娱乐化倾向明显,综合了声、乐、舞、容的歌诗出现在严肃的宫廷唱和场合。开元八年以前,尽管宫廷诗的创作主体和环境没有太大的改变,但是由于玄宗的励精图治,吏治派对文学的排挤,以及玄宗开始着手改变“重内轻外”的政策,一方面朝中文学之士寥落,另一方面,地方诗人和贬谪诗人增多,使宫廷诗创作较前有所回落,而以张说为代表的贬谪诗人在促使初唐宫廷诗所缺乏的性情和社会责任感的回归上也迈出了重要的步伐。更多还原

【Abstract】 Regarding the text as the foundation, this dissertation systematically studies the evolvement process of the palace poems of the early Tang dynasty and probes its relationship with the politics and culture. From the combination of culture and literature especially the combination of literature and Confucianism , this dissertation reviews the condition of the development of the north and south culture and how the palace poems declined from prosperity , and it opens out the transmutation orbit of palace poems from the early time to the flourishing period of Tang dynasty because of disposition ,sensual pleasure and the perfection of social responsibility.This dissertation is divided into two parts, part one is statement, and part two is chronicle. Part one is divided into four chapters , introduction and remaining comment. The introduction offers a pandect on palace poets and palace poems in early Tang period. Palace poems refers to the poems that were composed by literal attendants and ministers in the royal palace and some of the poems composed out of the palace , as well as some of the poems that did pertain to the palace poem style althoug the poets were not palace poets. The essence of the identity of palace poet is emperor’ s literature attendant. These two points are fundamentally decisive to the characteristic and transmutation of palace poems .This dissertation combining politics and culture regards text as the main basis and makes the lower limit of palce poems of early Tang at the year of 8 Kaiyuan. In the history of poetry , palace poems’ status was very high, and it lied in the influences on the lvshi poems and non-palace poems, and there were defects like mimic and imitation , too much painting and lack of musical sound ,all these faults above are up to the circumstance of the poem composition. The popularity of palace poem in the early period of Tang dynasty is due to the advocation by the emperor and its purpose of utility .besides , the cultural diathesis of the palace poets and the cultural construction , like literal hall bachelor construction and frequent recomposition , promoted the creation of palace poems .From chapter one to chapter four, this dissertation illustrates the transmutation orbit of the palace poems of early Tang dynasty. In theprophase of Zhenguan, the palace poems relied mainly on admonishing the rule the poems advocated the standard and elegance. In the middle period of Zhenguan , owing to the change of national condition, the poetry tended to be using splendid words , especially with the discard of Shandong Pool folk who took the spirit of pragmatism as their ultimate life virtue , the rule admonishing poems went into seclusion and retreat and beauty eulogy poems began to grow up. After Zhenguan , because of the changes of human resource and arrangement ,species of books being repaired and written , the Gaozong emperor and empress craving for greatness and success and even the officers selection by poetry , eulogy poems became popular. From the late period of Zhenguan to the period of emperor Gaozong and empress Wu, the palace poems were mainly of eulogy . However , the main content of the Longshuo-style poems should have been eulogy poems’ represented by Xujingzong instead of Shanguan style ones . Since the period of Zhou dynasty ruled by empress Wuzetian, on one hand , for her terrifying policies and mistakes of choosing the right person, the praising eulogy poems have got the opportunity of consistent development. On the other hand , with the development of social economy , the prosperity of the urban life and the existence of upright men, the feeling of flourishing Tang age have been shown in the palace poems . In the period of emperor Zhongzong, the trend of amusement of palace poems became obvious, and the poetries sythetized with music and dance appeared in the circumstance of solemn royal palace . Before the year of 8 Kaiyuan, in spite of the little change of the authors and circumstance of palace poetry creation, emperor Xuanzong became ambitious and tried to change the po更多还原