錢起山水田園詩研究

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Title:	錢起山水田園詩研究
Authors:	李愛鳳;Ai-Fong Lee
Contributors:	中國文學研究所
Keywords:	仕隱;田園;大曆;道教;山水田園詩歌;盛唐;錢起;佛教;pastoral;official and reclusion;Taoism;Buddhism;Ta-li Reign;High T'ang;landscape and pastoral poetry;Chi'en Ch'i
Date:	2008-06-19
Issue Date:	2009-09-22 09:16:47 (UTC+8)
Publisher:	國立中央大學圖書館
Abstract:	本文主旨在探究唐代詩人錢起的山水田園詩歌，尋索他在詩歌中的思想情感和創作手法，藉以瞭解他在山水田園詩歌中的定位。錢起的生平文獻資料雖記載較少，但從作品以及多位學者的考證之下，可了解其生平歷程可分三個階段：入仕前、藍田為官時以及入朝任職，後兩階段對於錢起山水田園詩歌具有不小的影響。在創作內涵方面，錢起對於道教、佛教皆有所接觸，仕隱之糾結和田園的喜愛，以及自己的遊覽羈旅的經歷，使其山水田園詩歌的內涵具有多面的開展。而在創作手法上，從遊歷讓他有了構築奇境的想像，因仙道、隱逸、田園的想法多用桃花源意境，關注於視覺造語以描寫景物，山水空間是幽靜曠遠、色調是清冷明淨，又具「清」「遠」的神韻表現。在詩歌淵源方面，錢起對於前人陶潛、謝靈運、謝朓的田園詩和山水詩，在精神依託和寫作手法上，其實是各有所承繼的，以致錢起的山水田園詩各具三位詩人的部分特色。藉比較分析之方式，為呈現錢起山水田園詩歌的特殊面貌，故選取唐代王維、孟浩然、韋應物、劉長卿四位詩人的作品，比較錢起和他們的異同。最後，錢起山水田園詩歌中，兼具二謝技巧和陶潛的精神，又接近於王維，成為右丞餘波。他與孟浩然、韋應物、劉長卿的山水田園詩歌，在情感和形式、手法較有所不同。錢起的山水田園詩歌，在形式和手法上，是承繼二謝而接近王維；在精神上，是追隨效法陶潛和王維。 This thesis treats about landscape and pastoral poetry of Ch'ien Ch'i, a poet of the T'ang. To find he is at thought emotion and technique, to know he is in poetry of landscape and pastoral in position. Although the life documents and materials that Ch'ien Ch'i is recorded less, but from the textual criticism of works and many scholars, can understand that he's life course can divide into three stages: before the officer, the officer of Lantian, enter the palace and hold a post, to landscape and pastoral poetry of Ch'ien Ch'i having great influence at the last two stages. In the idea of creating intension, Ch'ien Ch'i with regards to Taoism and Buddhism, it keep in touch to some extent all. To be an officer or live in seclusion entangled with as pastoral scene because he like. And one's own visit experience where travel, make development with much one of intension of his poetry. In the idea of technique, from travel the imagination letting him construct wonderland. Because immortal and Taoism, privacy, pastoral idea multi-purpose the imaginary land of joy and plenty. Ch'ien Ch'I focus on vision make describe in order to scenery, the landscape space is peaceful and vast and far, the hue is bright and clean, and it have the “spirit and rhyme” of “the clear” “the far”. In origin of the poem, Ch'ien Ch'i with regards to the pastoral poetry and landscope poetry of T'ao Ch'ien, Hsieh Ling-yun and Hsieh T'iao. In spirit rely on and technique on, in fact Ch'ien Ch'i succeeds the three poets' some extent each, so that he have some characteristics of the three poets. Besides, the way to make use of comparative analysis, the special appearance that in order to appear the landscape and pastoral poetry of Ch'ien Ch'i, so choose the T'ang Dynasty Wang wei, Meng Hao-jan, Wei Ying-wu and Liu Ch'ang-ch'ing the poetry of four poets, similarities and differences between comparing Ch'ien Ch'i and them. Finally, having concurrently the technique of Hsieh Ling-yun and Hsieh T'iao technique, and the spirit of T'ao Ch'ien spirit, and approach Wang Wei in the landscape and pastoral poetry of Ch'ien Ch'i. He and Meng Hao-jan, Wei Ying-wu and Liu Ch'ang-ch'ing in the landscape and pastoral poetry, more different in emotion, form, technique. Therefore, the landscape and pastoral poetry of Ch'ien Ch'i, in form and technique on, he succeeds Hsieh Ling-yun and Hsieh T'iao more close to Wang Wei; at being at spirit, he is follow T'ao Ch'ien and Wang Wei.
Appears in Collections:	[Graduate Institute of Chinese Literature] Electronic Thesis & Dissertation

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