{"title":"道咸時期嶺南詞壇之考察:以陳澧及其交遊爲中心","authors":"佳韻 余","doi":"10.24112/sinohumanitas.352632","DOIUrl":null,"url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \n嶺南向來被視爲化外之地,學術風氣不盛。十九世紀初期,阮元於廣州設置學海堂,帶來江南考據學文化的同時,亦促進了廣東文化認同意識的形成。 \n向來論及嶺南詞多著重晚清世變與常州詞學之關聯,而少見道咸詞壇討論。本文由陳澧現存的序跋題記與詞學交遊爲考察基點,試圖廓清道咸時期嶺南詞壇之概況。首先,由於此時期的嶺南詞人先世多源出江南,加之以阮元提倡江南學術的緣故,因而嶺南繼受江南傳統頗深。陳澧等文人論詞多以浙西爲宗的審美觀即源於此。其次,學海堂文人意圖通過文史考證追溯嶺南歷史至南漢,以表出嶺南文化的悠久性與特異性的意識,同樣展現於越臺詞社的集結與《粤東詞鈔》的成書。陳澧的詞學活動和交遊亦受益於此。陳澧兼具江南與嶺南兩種文化身分,通過考察其交遊活動,不僅有助於我們理解道咸時期嶺南詞壇的審美趨向,亦能看到嶺南詞人繼受江南文化的同時,試圖建構嶺南文化主體性之過程。 \nLingnan has long been seen as an uncivilized region throughout Chinese history. In the early 19th century, Ruan Yuan (1764-1849) established the Xuehai tang in Guangzhou. He introduced the theory of evidential research from the Jiangnan region, and thereby consummated the formation of the Cantonese literati’s cultural identity. \nPrevious research of Lingnan ci-poetry has laid more emphasis on its transitions in the late Qing dynasty than the Daoguang, Xianfeng, and Tongzhi reign-periods. This article focuses on the ci-poetry of Chen Li (1810-1882) and its peripherals to observe his social network and the development of Lingnan ci-poetry. First, it takes the perspective of cultural reception to observe that most of the Lingnan literati’s ancestors were immigrants from Jiangnan in the early to middle stages of the Qing dynasty; therefore, they succeeded not only the academic tradition of Jiangnan but also the cultural identity and literary aesthetics. This explains why Chen Li and his fellow literati took the aesthetics of the School of Western Zhejiang as an evaluation standard for ci-poetry. Second, in addition to tracing the history of Lingnan to the Southern Han Kingdom (917-971) by examination of relevant historical evidence, the Xuehai tang scholars organized poetry clubs and compiled Lingnan ci-poetry anthologies to represent the uniqueness of Lingnan culture. \nThe study of Chen Li, an immigrant from Jiangnan and a leader of the Xuehai tang, and his social network not only enables us to understand Lingnan ci-poetry in the mid and late Qing dynasty, but benefits us by learning a different facet of the development of the ci-poetry of the region.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"8 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"人文中國學報","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.24112/sinohumanitas.352632","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
LANGUAGE NOTE | Document text in Chinese; abstract also in English.
嶺南向來被視爲化外之地,學術風氣不盛。十九世紀初期,阮元於廣州設置學海堂,帶來江南考據學文化的同時,亦促進了廣東文化認同意識的形成。
向來論及嶺南詞多著重晚清世變與常州詞學之關聯,而少見道咸詞壇討論。本文由陳澧現存的序跋題記與詞學交遊爲考察基點,試圖廓清道咸時期嶺南詞壇之概況。首先,由於此時期的嶺南詞人先世多源出江南,加之以阮元提倡江南學術的緣故,因而嶺南繼受江南傳統頗深。陳澧等文人論詞多以浙西爲宗的審美觀即源於此。其次,學海堂文人意圖通過文史考證追溯嶺南歷史至南漢,以表出嶺南文化的悠久性與特異性的意識,同樣展現於越臺詞社的集結與《粤東詞鈔》的成書。陳澧的詞學活動和交遊亦受益於此。陳澧兼具江南與嶺南兩種文化身分,通過考察其交遊活動,不僅有助於我們理解道咸時期嶺南詞壇的審美趨向,亦能看到嶺南詞人繼受江南文化的同時,試圖建構嶺南文化主體性之過程。
Lingnan has long been seen as an uncivilized region throughout Chinese history. In the early 19th century, Ruan Yuan (1764-1849) established the Xuehai tang in Guangzhou. He introduced the theory of evidential research from the Jiangnan region, and thereby consummated the formation of the Cantonese literati’s cultural identity.
Previous research of Lingnan ci-poetry has laid more emphasis on its transitions in the late Qing dynasty than the Daoguang, Xianfeng, and Tongzhi reign-periods. This article focuses on the ci-poetry of Chen Li (1810-1882) and its peripherals to observe his social network and the development of Lingnan ci-poetry. First, it takes the perspective of cultural reception to observe that most of the Lingnan literati’s ancestors were immigrants from Jiangnan in the early to middle stages of the Qing dynasty; therefore, they succeeded not only the academic tradition of Jiangnan but also the cultural identity and literary aesthetics. This explains why Chen Li and his fellow literati took the aesthetics of the School of Western Zhejiang as an evaluation standard for ci-poetry. Second, in addition to tracing the history of Lingnan to the Southern Han Kingdom (917-971) by examination of relevant historical evidence, the Xuehai tang scholars organized poetry clubs and compiled Lingnan ci-poetry anthologies to represent the uniqueness of Lingnan culture.
The study of Chen Li, an immigrant from Jiangnan and a leader of the Xuehai tang, and his social network not only enables us to understand Lingnan ci-poetry in the mid and late Qing dynasty, but benefits us by learning a different facet of the development of the ci-poetry of the region.
LANGUAGE NOTE | Document text in Chinese; abstract also in English. 岭南向来被视为化外之地,学术风气不盛。十九世纪初期,阮元于广州设置学海堂,带来江南考据学文化的同时,亦促进了广东文化认同意识的形成。 向来论及岭南词多著重晚清世变与常州词学之关联,而少见道咸词坛讨论。本文由陈澧现存的序跋题记与词学交游为考察基点,试图廓清道咸时期岭南词坛之概况。首先,由于此时期的岭南词人先世多源出江南,加之以阮元提倡江南学术的缘故,因而岭南继受江南传统颇深。陈澧等文人论词多以浙西为宗的审美观即源于此。其次,学海堂文人意图通过文史考证追溯岭南历史至南汉,以表出岭南文化的悠久性与特异性的意识,同样展现于越台词社的集结与《粤东词钞》的成书。陈澧的词学活动和交游亦受益于此。陈澧兼具江南与岭南两种文化身分,通过考察其交游活动,不仅有助于我们理解道咸时期岭南词坛的审美趋向,亦能看到岭南词人继受江南文化的同时,试图建构岭南文化主体性之过程。 Lingnan has long been seen as an uncivilized region throughout Chinese history. In the early 19th century, Ruan Yuan (1764-1849) established the Xuehai tang in Guangzhou. He introduced the theory of evidential research from the Jiangnan region, and thereby consummated the formation of the Cantonese literati’s cultural identity. Previous research of Lingnan ci-poetry has laid more emphasis on its transitions in the late Qing dynasty than the Daoguang, Xianfeng, and Tongzhi reign-periods. This article focuses on the ci-poetry of Chen Li (1810-1882) and its peripherals to observe his social network and the development of Lingnan ci-poetry. First, it takes the perspective of cultural reception to observe that most of the Lingnan literati’s ancestors were immigrants from Jiangnan in the early to middle stages of the Qing dynasty; therefore, they succeeded not only the academic tradition of Jiangnan but also the cultural identity and literary aesthetics. This explains why Chen Li and his fellow literati took the aesthetics of the School of Western Zhejiang as an evaluation standard for ci-poetry. Second, in addition to tracing the history of Lingnan to the Southern Han Kingdom (917-971) by examination of relevant historical evidence, the Xuehai tang scholars organized poetry clubs and compiled Lingnan ci-poetry anthologies to represent the uniqueness of Lingnan culture. The study of Chen Li, an immigrant from Jiangnan and a leader of the Xuehai tang, and his social network not only enables us to understand Lingnan ci-poetry in the mid and late Qing dynasty, but benefits us by learning a different facet of the development of the ci-poetry of the region.