从《乔大壮手批周邦彦〈片玉集〉》看乔大壮的境界说

From “Qiao Dazhuang Hands to Criticize Zhou Bangyan ” Look at the Realm of Qiao Dazhuang Said

继王国维《人间词话》中开宗明义地提出“境界说”之后,乔大壮以周邦彦所著的《片玉集》为例,继续阐发境界说,并提出“合时与地遂成境界”的境界说概念。通过对《乔大壮手批周邦彦片玉集》进行分析可知,乔大壮的“境界说”主要侧重于创作手法的阐述,以解剖境界的组织结构来阐释创作手法,让境界的思路可以清晰可见。本文便以《乔大壮手批周邦彦片玉集》为中心对乔大壮“境界说”的基本内涵、境界创作的手法进行阐释。

After Wang Guowei first proposed the concept of “realm theory” in his “Human Ci Hua”, Qiao Dazhuang continued to elucidate the realm theory using Zhou Bangyan’s “Pian Yu Ji” as an example, and proposed the concept of “harmony between time and place forms the realm”. Through the analysis of “Qiao Dazhuang’s Handwritten Collection of Zhou Bangyan’s Jade Pieces”, it can be seen that Qiao Dazhuang’s “realm theory” mainly focuses on the elaboration of creative techniques, dissecting the organizational structure of the realm to explain the creative techniques, so that the ideas of the realm can be clearly seen. This article takes “Qiao Dazhuang’s Handwritten Collection of Zhou Bangyan’s Jade Pieces” as the center to explain the basic connotation of Qiao Dazhuang’s “realm theory” and the techniques of realm creation.