从书论到词论：张德瀛内抱、外抱二法与咏物词创作

From Calligraphic Theory To Ci-poetry Criticism :Zhang De-ying’s “Nei bao” “Wai bao” and the Writing of Ci-poetry on Objects

清代以降,尤其晚清词论,词学批评中开始频频出现书学术语,呈现出书学与词学交融互渗的格局。张德瀛《词征》中提出的内抱、外抱二法,即受书学影响之一例。因这一术语的词学内涵迄无释义,本文试图梳理该概念从书学到词学的脉络,探究其词学内涵,以此从侧面窥测广东词人张德瀛关于清代咏物词创作的态度,兼析张氏《耕烟词》中咏物词创作实践与理念的矛盾性。

It was observed that calligraphic terminologies were applied in ci-poetry criticism in the late period of Qing Dynasty.With the critical practice continuing,the theorical blend between penmanship and ci-poetry is more and more obvious.For example,Zhang De-ying uses"Nei bao"and"Wai bao"in Ci Zheng as critical terminologies.However,hitherto,the definition and implication of these two terminologies may be unsure for other critics and comtemporary researchers.In order to confirming their implication in ci-poetry theorical knowledge,this article explores the transversion of them from calligraphic theory,so that we can know about Zhang Deying’s attitude for the writing of ci-poetry on objects and the conflict of his practice and concept in Geng yan Ci.