《百鸟衣》以来壮族诗歌书写的脉络、影响及可能

The Venation, Influence and Possibility of Zhuang’s Poetry Writing since "Bird’s Clothing"

壮族诗人是广西以壮、瑶、苗、侗为主体的少数民族诗人群体的主体,韦其麟、莎红、侬易天等第一代壮族诗人的民族叙事诗创作和冯艺、黄神彪、黄堃等第二代壮族诗人的"花山书写",分别于20世纪50年代至70年代和20世纪80年代至新世纪产生了广泛而深远的影响。可以说自《百鸟衣》以来,"壮族书写"作为广西少数民族诗歌和广西现代诗歌的创作传统,不仅影响了广西瑶族、苗族、侗族等少数民族的诗歌创作,更是建构了广西现代诗歌的时代转型与发展。在中国少数民族诗歌发展过程中,韦其麟、冯艺、黄神彪等壮族诗人的"壮族书写"具有深刻的影响和典型意义。

Zhuang poets are the main body of minority poets in Guangxi,including Zhuang, Yao, Miao and Dong. National narrative poems as the first generation of Zhuang ZU’ s poets including Wei Qilin, Shahong and Nong Yitian, had a wide influence from 1950s to 1970s, so do the Huashan Writing as the second generation including Feng Yi, Huang Shenbiao and Huang Kun from 1980s to new century respectively. Apparently, since Bai Liao Yi, Zhuang Zu’s writing as the tradition of Guangxi minority poems and modern poetry, not only affects different nationalities such as Yao, Miao, Dong and so on, but also transforms and develops modern poems in Guangxi. In the development of Chinese minority poem’s writing, the Zhuang Zu’s writing has typical influence and significance, such as Wei Qilin, Feng Yi and Huang Shenbiao and so on.