唐宋诗歌花肉互喻关系的书写流变与后世接受——以苏轼《定惠院海棠》为中心

The Change and Acceptance of the Relationship Writing Between Flower and Flesh in Tang and Song Poems:Centered on Su Shi’s Poem Ding Hui Yuan Haitang

与传统以花喻人的手法不同,中唐以降古典诗歌出现了以人喻花,特别是以肉红喻花的反向应用,并在宋代蔚然成风。苏轼《定惠院海棠》中“红映肉”之喻,广为后世诗人接受仿写,并在唱和与品评中不断经典化。但“红映肉”在清代却因尖新俚俗的鲜明宋调风格,在“宗唐”与“宗宋”两派的诗学接受中产生了明显的分化乃至论辩,甚至日本汉诗学家都参与了这一讨论。对“红映肉”一类以肉喻花语典的接受,可以成为从具体文本考察创作与诗学接受中唐宋诗之争的典范视角。

Different from the traditional way of using flowers as metaphor for people,the reverse application of using people as metaphor for flowers,especially using flesh as metaphor for flowers,appeared in poems in the middle Tang Dynasty.This trend began with Du Fu,and became popular in the Song Dynasty,especially in Su Shi’s Ding Hui Yuan Haitang,The metaphor of“red reflecting flesh”has been canonized continuously because of a large number of singing and commenting,and has been widely accepted and imitated by later poets.However,since the Qing Dynasty,because of its distinctive novel and vulgar style like Song poetry,this term has formed a clear differentiation and even debate in the poetics acceptance of“advocating Tang poetry”and“advocating Song poetry”,and even Japanese poets have participated in this discussion.The acceptance of“red reflecting flesh”,which uses flesh as a metaphor for flowers,can be used as a model perspective to investigate the“controversy between Tang and Song poems”in poetry creation and poetics acceptance from specific texts.