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在線閱讀 --哲學社會科學版 2020年6期《中印古代宮廷詩人的對唱——迦梨陀娑抒情詩與南朝宮體詩的跨文化比較》
中印古代宮廷詩人的對唱——迦梨陀娑抒情詩與南朝宮體詩的跨文化比較--[在線閱讀]
于懷瑾
中國社會科學院 外國文學研究所, 北京 100732
起止頁碼: 133--140頁
DOI: 10.13763/j.cnki.jhebnu.psse.2020.06.018
摘要
笈多時期的古典梵語詩人迦梨陀娑創作的抒情詩代表了梵語詩歌藝術的最高成就,他在“詩化”的男性意識敘寫中表現出對女性世界的濃厚興趣。而稍晚于這個時代的中國南朝梁代,宮廷內外也悄然興起了一股香艷輕綺的宮體詩風。從題材、風格和藝術表現手法諸方面來看,南朝宮體詩與迦梨陀娑抒情詩都有著諸多相似之處。通過爬梳剔抉現有文獻和考古資料可知,這種特殊文化現象不僅是中印宮廷詩人群體相似文學生態環境下的產物,也應該是古印度藝術,尤其是笈多佛教藝術和世俗艷情藝術對宮體詩發生直接影響的結果。

Antiphonal Singing between Ancient Chinese and Indian Court Poets—A Cross-Cultural Comparison of Kālidāsa's Lyrics and Gongti Poetry
YU Huaijin
Institute of Foreign Literature, Chinese Academy of Social Sciences, Beijing 100732, China
Abstract:
The Lyrics of Kālidāsa, a classical Sanskrit poet in the Gupta Dynasty (c.3rd century-550), represent the highest achievement of Sanskrit poetry. These poems composed under his male consciousness betray his great interest in the women world. Slightly later than Kālidāsa's time is China's Southern Liang Dynasty (502-557), when a kind of erotic poetry gradually crept inside and outside the courts. There are many similarities between Gongti poetry and Kālidāsa's lyrics in theme, style and artistic techniques. From the available literature and archaeological data we can infer that this special cultural phenomenon is probably traceable in part to similar literary ecological environments that affect contemporary Chinese and Indian court poets and also in part to the direct influence of ancient Indian art, especially the Gupta Buddhist art and the secular erotic art, on Gonti poetry.

收稿日期: 2020-06-20
基金項目: 國家社會科學基金冷門“絕學”和國別史等研究專項“迦梨陀娑評傳”(項目編號:19VJX103)

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