唐诗风骨源于国风和汉魏风骨

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唐诗风骨源于国风和汉魏风骨 ,它继承了现实主义文学的优良传统 ,横扫了齐梁颓靡文风。但也借鉴了其中缘情体物 ,精工流丽的艺术风格 ,博采前代文学精华 ,融合儒、道、释、侠于一体 ,经过唐初一百余年的诗歌创作实践和理论探索 ,臻于完备。唐诗风骨滥觞于初唐四杰、陈子昂 ,蔚然成风于盛唐 ,流变于中唐 ,衰微于晚唐。“风”即思想内容 ,骨即辞采和表现形式。唐诗风骨即坚实的思想内容和刚健明丽的表现形式的完美统一。唐诗的风骨主要表现为盛唐诗人积极用世的进取精神 ,居安思危 ,关心国运兴衰、民生疾苦的忧患意识和摹写山川壮丽、田园牧歌、风俗人情的美学理想

The style of Tang poetry stemmed from Guofeng as well as the style of the Han and Wei Dynasty. It inherited the fine tradition of realism literature, threw away the dispirited style of writing of the Qi and Liang Dynasty, but used the experience of lyric and descript ion, along with the exquisite artistic style for reference, learned widely the cream of literature from the predecessors with integrating the ideas of the Confucianists, Taoists, Sakyamuni and Chivalrous, and gradually became perfect after more than one hundred years practice and theory exploration. The style of Tang poetry originated from the four outstanding poets in the early Tang Dynasty and Chen Z-i ang, came into vogue during the flourishing period of Tang, became divided in the mid-Tang Dynasty, and declined in the late Tang. The vigor of style of Tang poetry is the perfect unity of solid contents and vigorous and sprightly forms. It expressed the poets active spirit of progress and the worried consciousness for the fate of the nation in the flourishing Tang, described the beauty of the mountains and rivers, countryside and pastoral song, as well as the folk customs and amorous feelings.

女冠的繁荣是唐代出现的一种特别的社会现象。唐代女冠不仅数量可观, 而且十分活跃地参与当时的社会生活, 尤其是与当时的文人群体交往十分密切。唐代女冠的大量出现与当时开放包容的社会风气和女性社会地位的提高有密不可分的关系。她们的出现不仅丰富了唐代的社会画卷, 而且也为唐代文人的创作提供了可贵素材, 是唐代诗歌发展的一种重要推动力。

T he emergence of a large number of Taoist nuns is a kind of particular social phenomenon in Tang Dynasty .Taoist nuns in Tang Dynasty is not only numerous but also active to take part in the social life of the time, especially t o keep the closely contact s with the group of scholar . The phenomenon reflected the open ethos and the improvement of female's social position of the day . T he emergence of them not only enriched the Tang' s social scenes but also provided many treasurable materials for scholars' composition, which is the important compulsion to the Tang poetry development

唐诗在主导的人文精神、批判现实精神和抒情言志的艺术等方面从《毛诗》及其经学阐释复杂、庞大的体系中吸收了丰富的营养, 从而铸造了品格昂扬健康、充满人文情怀、现实精神和抒情艺术再创辉煌的唐代诗歌成就。

The Tang poetry has absorbed rich nutrition from Maoshi and the explanation on the study of Confucian classics in the fields of dominant human spirits, critical spirits and the lyric art s, there by casting the poetry achievement s with high spirited and healthy style and full of human

emotions. These poetry achievements implicate that the spirit of critical realism and the lyric art have recreated a glorious prospect.

初唐四杰在接受楚辞时, 是以反对者的姿态出现的, 但骨子里正得楚辞之精神。尚为的生命


价值追求, 悲剧性的生命历程, 决不委心从俗的高尚人格, 这都是他们在创作中自然接受楚辞的主要原因。但他们缺少必要的生活阅历与生活基础, 思想不够深沉, 重个人价值而轻社会生活关怀, 才华横溢而又急于求成, 在接受楚辞的同时, 在创作上出现变异。

The Four Virtuosos of the early Tang dynasty had mastered the spirit the Chu Poem in their heart of hearts, though they had been as the opposed when they began to accept the Chu Poem. The avocation of the life-value, the tragic career, and the lofty personality of against- custom, all these were why they accepted the Chu Poem naturally in their creation. And because of the

inexperienced- life the little- deep thought , the valuing themselves without close attention to the society, so they had variation in their creative action as they accepted the Chu Poem.

初唐四杰的人格品位与初唐宫廷诗人御用性不同, 在帝国初兴的时代气息与他们自己独特的身世遭际中形成的健康的儒侠互补的人格精神, 使他们具有崇尚雄词健笔的诗学理想, 诗歌创作中把儒家的功名理想与任侠尚武的民间性结合起来, 诗歌华彩而不伤气骨, 有刚健之风, 基本具有了盛唐之音的风格内涵,担当了引领唐诗走出了六朝低迷轻艳诗风低谷的重任。

It is the difference between the taste of personality of the four distinguished in Primary Tang Dynasty and that of the employed poets for the emperor and the healthy personality formed from their special life experience that promise them the poetic ideal using powerful writing style with strong words. In the poetic creation, they connected the Confucian ideal of success and fame with the folk ideal of justice, which resulted in the dynamic poetry bearing the style and connation of the poetry in the prosperous Tang Dynasty, thus taking the responsibility for leading poetry in Tang Dynasty to climbing of f the bottom.

“初唐四杰”之一的骆宾王，天性颖悟，有十卷诗文传世。其诗以七言歌行见长，多悲愤之词。因他“读书颇存涉猎”，对历史掌故了然于心，融化在诗文中，奇崛警人又自然舒展。他的诗歌世界，既是典故的宝库又有心路的标识。

Luo binwang, one of the outstanding poets in the early Tang Dynasty, was intelligent and left ten volumes of pomes. He was especially famous for his seven-character pomes, which were full of sorrow. He read extensively and kept historical allusions in mind. His pomes, with many allusions, are a store for allusions and a symbol for his internal world.

初唐四杰的赋创作代表着赋体文从宫体的桎梏中解放出来。他们表现时代精神,抒发个人性情,表现题材走向广阔的社会人生。又注重辞藻、用典等,表现了天才的创作才能。 The prose poems by the Four-talented Poets indicated that the prose poems began to free

themselves from the shackles of the conventional prose poems. Their prose poems reflected the spirits of the time, expressed personal emotions, and covered a wide range of subjects. Meanwhile, their writings laid stress on the diction and literary allusions. Therefore, their writings influenced the further development of the prose poem writing in the Tang Dynasty.



初唐四杰的辞赋、骈文因被斥为“时带六朝锦色”而多不被人认同。这两种文体在事实上起到了开拓文学样式新路的作用。在辞赋的影响下, “四杰”的歌行呈现出铺陈展衍,纵横捭阖的气势; 同时,辞赋中借事抒情的手法,赋予歌行一体以极大的语言表现力。而骈文的对偶、声律等形式方面的特点, 被“四杰”运用于七言歌行, 促进了“初唐体”的形成,也被推广到近体诗中, 完善了五言律诗的格律体制。




Critics are prone t o have lowly appraised the Fu and Pian Wen of Chu Tang Si Jie because of their Six Dynasties’ literary style. But the Author holds that the two literary forms promoted their poetry innovation. They applied the technique of expression in Fu and the antithesis, tonal pattern in Pian Wen to Ge Xing. And then, they promoted the format ion of / Chu Tang Shi Ti0 and perfected the rule of Wu Yan Liu Shi.

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