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| 文章编号：1672-3104(2025)04-0176-09 |
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唐以后诗歌的牡丹书写 |
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蒋寅 |
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（华南师范大学文学院，广东广州，510006） |
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| 摘 要： 鲁迅“一切好诗，到唐已被做完”的说法对后来的诗歌史研究产生很大影响，无形中主宰着人们对唐以后诗歌成就的判断。但宋以后甚至明清诗歌的创作实践仍然表明，诗歌艺术的探索和艺术表现的开拓一直在继续。咏物诗尤其成为诗家争奇斗艳，在规模和难度上挑战极限的重要竞技场域。通过对唐人付以最大热情的牡丹书写的历史考察，可以清楚地看到历代诗人努力探索艺术表现的新境及形成各时代表现模式的实践过程。 |
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| 关键词： 牡丹书写；咏物诗；诗歌 |
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Peony writing in poetry after the Tang Dynasty |
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JIANG Yin |
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（School of Literature, South China Normal University, Guangzhou 510006, China） |
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| Abstract: Lu Xun’s statement that “all good poetry had been completed by the Tang Dynasty” has exerted a great influence on later research on the history of poetry, invisibly dominating people’s judgment of the achievements of poetry after the Tang Dynasty. However, the practice of creating poetry after the Song Dynasty and even in the Ming and Qing Dynasties still indicates that the exploration of poetic art and the development of artistic expression have been continuing. Poetry describing objects has become an important arena for poets to compete for excellence and challenge the limits of scale and difficulty. Through the historical investigation into Tang Dynasty poets who wrote peonies with the greatest enthusiasm, we can clearly see the practical process of each generation of poets striving to explore new artistic expressions and form their own modes of expression in their own time. |
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Key words: peony writing; poetry describing objects; poetry |
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