论《江南春》唱和的体式及其文化意味

Poems Written in Response to Jiangnan Chun:Generic Features and Cultural Meaning

明代吴地文人对于倪瓒《江南春》的唱和,是吴中文坛的一件胜事。本文认为,《江南春》是诗而非词,是两章而非三首。因为倪瓒野逸人格的魅力和"江南春"题目的包容性,遂使得这一首普通的题画诗,经江南文人的群起追和,成了一种不可取代的文化符号与文学经典。《江南春》唱和的文化意味,就在于通过沈周、祝允明、文征明等人的次第追和,吴地文人自觉不自觉地发现或发掘出了带有吴文化性格的精神意脉;同时也意味着他们通过"选边站队"、"集体发声"的方式,昭示着"江南文化共同体"的存在,表现了吴地文人拥江南文化以自重,宁作偏裨、自领一队的文化姿态。

In the Ming Dynasty, the literati in the region that had once belonged to the ancient Wu Kingdom （ aka Wu region ） created a large number of poems in response to Ni Zans＇poem Jiangnan chun 江南春 （ literally Spring in the Area South of the Changiang River ） by using the same rhyme sequence. This was a big event in the circle of literati in the Wu region or even in the whole country. In this paper, we argue that Jiangnan chunshould be classified as a typical poem rather than a ci poem and it just contained two chapters rather than three parts. Because of Ni Zan＇s charisma and the inclusiveness of the subject matter of Jiangnan chun, tiffs ordinary poem written on a painting attracted so much attention of the literati in the Wu region that they responded to it with a large number of poems using the same rhyme sequence, which formed a type of irreplaceable cultural symbol and literary classics. The cultural implication of the literati＇s （ represented by among others Shen Zhou, Zhu Yongming and Wen Zhengming ） response to Jiangnan chun is that they consciously or unconsciously discovered or explored the character of Wu culture through writing the poems. At the same time, their writing activities indicated the formation of a cultural community in the Wu region and their pride in identifying with the cultural tradition in this area.