Dynasty Transitions, Region and Chanting: A Research on Tongcheng Poets in Late Ming and Qing Dynasties

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Project title

Code/計畫編號

MOST104-2410-H019-021

Translated Name/計畫中文名

國變、地域與歌詩：明清之際桐城詩人研究

Project Coordinator/計畫主持人

Yu-Ling Hsieh

Funding Organization/主管機關

National Science and Technology Council

Department/Unit

General Education Center

Website

https://www.grb.gov.tw/search/planDetail?id=11478589

Year

2015

Start date/計畫起

01-08-2015

Expected Completion/計畫迄

31-07-2016

Bugetid/研究經費

363千元

ResearchField/研究領域

語文

鼎革易代，向來是中國文士面對生存狀態與人生取向極為艱難的時刻，其中最為人所關注者，莫過於明清之際。明清之際詩壇上出現一批眷戀故國的遺民詩人，他們歷經陵谷之變的心靈巨創，再加上人生道路與生活歷程的不同遭遇，化而為詩，創作出許多富有個性、動人又慷慨悲涼的詩篇。清初詩派的發展，與地域文化有極為密切的關係；由於地域人文積累，以及世族群體網絡所形成的文化氛圍，展現了姿態各異的審美風尚。清初詩歌的地域性和家族性特徵非常鮮明，不僅與政治、經濟的興衰有關，而文學文化群的集結、活躍與互動，更帶來詩派風格的創發與繁興，即使在同一地域的詩人，在詩歌風格方面亦各具手眼，具有強烈的自覺意識。詩歌或有補「史」的作用，清初遺民詩人群體的詩作，烙印著深刻的時代記憶，在特定的時空環境中，自明中葉以來詩派的習氣淡化了，在家國淪亡之痛中，深寄泣血哀苦的歌吟。明清之際詩人對詩體體裁與型態方面，實有所繼承與新變，其中古體詩的數量甚夥，本研究從詩體出發，特別著重在探討明清之際「歌行體」，自韓愈、杜甫、白居易，到宋代詩人、明代復古派的繼承、發展與轉化，乃至於對之後桐城詩派的影響，以及在明清之際的詩壇有何種重要性。其次，明清之際詩派間亦見融匯滲透，將其放在詩學發展的脈絡上觀察，實具有重大的意義。歷來學者若論及「桐城」，必然想到桐城文派。事實上明清之際桐城文士詩風更為鼎盛，其中方、錢兩姓是當地的望族，方以智、方文、錢澄之等人，皆是箇中翹楚，非常值得關注。他們自組詩社，並與其他詩友交往唱和，方以智與錢澄之的詩作已受到歷來研究者的重視，而方文詩作在明清之際的遺民詩研究或是文學史研究中，並沒有得到應有的重視與文學地位。然其在當時已形成所謂的「嵞山體」，為時人所推崇，其內涵、表現與形製的特色，與「宣城體」之間創作特徵的異同等，需要進一步梳理。同時由於方文和虞山詩派關係友好，但虞山詩派卻與竟陵派水火不容。值得關注的是，似乎竟陵派某些創作主張，在方文詩中可以轉化、調和成為被接受的面向。因此對方文詩歌作較深入的探討，亦是本研究另一重心，期對明清之際詩歌研究能有所裨益。The period of dynasty transition has been the extremely difficult time for Chinese scholars as they have to face a different living condition and life orientation. Among which, the late Ming and Qing Dynasties is of most concerned. During the late Ming and Qing Dynasties, there is a group of nostalgic homeland poet who experiences the pain of dynasty transition. Therefore, a lot of spirited and sad poems with rich personality have been created by this group of poets. The development of poems in the early Qing Dynasty has a very close relationship with regional cultures. Different aesthetic fashions were created due to geographical humanistic culture of accumulation, as well as the network formed by clans groups. The poetry in the early Qing Dynasty is fulfilled with regional and familial characteristics. The active development of poetry is not only related to the political and economic status, but also due to assemble and interactive of literary and cultural groups. Various poetries with different style were created even in the same area. It is noted that some of the part of the history can be found in the poetry. Therefore, a profound era memories can be found in most of the poetry made by the group of poet in the Early Qing Dynasty. The pains due to the degeneration of the country are written in the poetry. During the interval of late Ming and Qing Dynasty, some of the poetic aspects of the genre and patterns are inherited but some of new poetic genres are also created. Among all the poetry, most of which are in the form of ancient poetry. In this study, we start from verse, with special emphasis on exploring the chanting form in the late Ming and Qing Dynasties. We explore the development and transformation of the chanting form since Yu Han, Fu Du, Ju-yi Bai, the Song Dynasty poet, as well as those in the Ming dynasty. We then will try to find the impact and importance of Tongcheng poets and poetry in the late Ming and Qing Dynasties. Secondly, the integration and interaction between poetries can also be found in the late Ming and Qing Dynasties. This phenomenon is of quite importance. The Tongcheng literary is always mentioned whenever dealt with "Tongcheng". In fact, it is the extreme heyday of Tongcheng Poetry in the late Ming and Qing Dynasties. Among all the poets of Tongcheng literary, Fang and Qian are two well-known groups. For example, Yizhi Fang, Wen Fang, Chen-Zhi Qian are all leaders of Tongcheng literary. The poetries of Yizhi Fang and Cheng-Zhi Qian have been the attention of many researchers for a long time. At the same time, the poems of Wen Fang, a well-known adherent poet in the late Ming and Qing Dynasties, did not get the attention of literary status he deserves. However, Wen Fang is well-known at that time for his Tu-shan collected literary works. The similarity and difference on the presentation format and the characteristics between “Tu-shan” and “Xuancheng” style should be further discussed. In addition, Wen Fang has a very good friendship with the group of “Yushan” poetry. However, the group of “Yushan” poetry was incompatible with the group of “Jingling” poetry. But we also find it interesting that some of the presentation style of “Jingling” poetry is accepted by Wen Fang and can be found in the Tu-shan literature works of Wen Fang. Therefore, an in-depth discussion on the poetry of Wen Fang is also another focus of this study. We sincerely hope this study can benefit the research of poetry during the interval of Ming and Qing dynasties.

Keyword(s)

明清之際
桐城詩人
詩歌美學
歌行體
遺民詩
The late Ming and Qing dynasties
The Tongcheng poet
Poetic aesthetic
The chanting form
Adherents of poetry

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Dynasty Transitions, Region and Chanting: A Research on Tongcheng Poets in Late Ming and Qing Dynasties

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