北朝文化对南朝文化的接纳与反馈

发布时间：2018-01-24 01:40

本文关键词： 入北南人地位河北文化集团诗体保留与革新北朝文化的反作用　出处：《北京大学》2012年博士论文　论文类型：学位论文

【摘要】：本文以北朝文化对南朝文化的接纳及反馈为研究对象,分为上下两篇。上篇中分三个阶段讨论北朝统治者及作为文化主导力量的河北文化集团对入北南人及其所代表的南朝文化的接纳过程,下篇则讨论南北朝时期北朝文人对古朴诗体的借用和保存、对齐梁诗体的学习与改造,以及北朝文化对南朝文化所产生的影响等内容。北朝上层对入北南人及南朝文化的态度大概经历了三次变化。第一个阶段是孝文帝时期,作为河北文化圈分支的青齐士人及零星入北的逃亡南人得到区别对待,前者得以在文化改革中被委以重任,后者却因其政治军事价值而被派驻边境,并没有太多机会参与文化事务。第二阶段是宣武孝明时期,异类身份的消除,使得入北南朝士人可以平等地与北方士人进行交流,而统治者的政治意图也导致南人得以进入政权的核心出任参与机要的重要官职。第三阶段则是在齐周并立时期,由于统治阶级的胡化,梁亡后入北的梁朝士人在两国均被排斥在政治核心之外,但由于两国文化层面上多少继承了北魏传统,因此入北梁人的学识才华被北人所重,这使得他们只能在皇家著述机构担任文学侍臣。总体来说,北朝上层对于入北南人接纳态度的不同并非出于南人本身文化水平的差异,而是由统治者以自身政治目的为主要出发点,基于本国的文化基础和实际情况做出的决定。北朝诗人在长期的文学活动中,并没有培养出“诗体自觉”的意识,末能自主地改造乃至创造诗体,而是只能借用一些古早的诗体或者朴拙的民间谣歌酒令体裁进行创作。这虽然直接限制了北朝文学水平的发展,但是客观来说,也使得一些在南朝诗体革新中被摒弃的古朴诗体在北朝得以保留。在北朝的最后二十年中,由于得以和数量颇多的南朝士人频繁接触,以河北士人为主体的北方士人学习了齐梁的用韵与格律化诗体。然而,他们并没有就此抛弃古体,而是以其积极进取,经世致用的文学观、政治观为依据,去对新诗体加以充实,对旧诗体加以改造,进行了一系列创作实践,为初唐的诗歌革新奠定了基础。北魏的治国意识形态可以基本概括为中原模式的儒学意识形态与凉州模式的佛教意识形态相结合。凉州模式的意识形态,论其根源,是源自犍陀罗的佛教治国理论,而论其内容,则可概括为“沙门敷导民俗”。在齐梁之际,随着凉州僧人的南下和南北交聘中宗教活动的增多,这一佛教治国思想传入南方。从直观上看,它表现为佛教节日与佛教仪式的大量增加；从佛教类型上看,它表现为士大夫佛教转变为国家佛教,而从治国思想上看,它意味着南朝向北朝靠拢,采用了儒学佛教相结合的意识形态,对南朝具有重要意义。
[Abstract]:This article takes the Northern Dynasty culture to accept and the feedback to the Southern Dynasty culture as the research object. The first part is divided into three stages to discuss the northern rulers and the Hebei cultural group as the dominant force of culture to the northern and southern people and their representatives of the southern culture of the acceptance process. The second part discusses the borrowing and preservation of ancient poetry style, the study and transformation of Qi Liang poetry style, and the influence of Northern Dynasty culture on Southern Dynasty culture. The attitude of the upper level of the Northern Dynasty to the people entering the North and the South and the culture of the Southern Dynasty has probably undergone three changes. The first stage is the period of Emperor Xiaowen. As a branch of Hebei cultural circle, Qingqi scholars were treated differently from those who fled to the north. The former were entrusted with important tasks in the cultural reform, but the latter were stationed at the border because of their political and military values. There was not much opportunity to participate in cultural affairs. The second stage was the period of Xuanwu filial piety and Ming Dynasty. The elimination of different identities made it possible for scholars in the Northern and Southern dynasties to communicate with the Northern Scholars on an equal footing. The political intention of the rulers also led the Nanren to enter the core of the regime as an important official position to participate in the machine. The third stage was in the period of the Qi and Zhou dynasties, because of the Hu Hua of the ruling class. The scholars of Liang Dynasty who entered the north after the death of Liang were excluded from the political core in both countries, but because the cultural level of the two countries more or less inherited the tradition of the Northern Wei Dynasty, the intellectual talent of the people who entered the Northern Liang Dynasty was valued by the North. This made them serve only as literary courtiers in the royal literary institutions. Generally speaking, the attitude of the upper classes of the Northern Dynasty to the acceptance of the people in the North and the South was not due to the differences in the cultural level of the Southern people themselves. Instead, the rulers take their own political purposes as the main starting point and make decisions based on their own cultural basis and actual conditions. In the long period of literary activity, the poets of the Northern Dynasty did not cultivate the consciousness of "poetic style consciousness" and could not transform or even create the poetic style autonomously. But can only borrow some of the ancient poetry or simple folk ballad wine genre to create, although this directly restricted the development of the Northern Dynasty literary level, but objectively speaking. In the last two decades of the Northern Dynasty, there were frequent contacts with a large number of scholars in the Southern Dynasty. The northern scholars with Hebei scholars as the main body learned the rhyme and rhyme of the Qi and Liang dynasties. However, they did not abandon the ancient style, but based on their progressive and practical literary and political views. To enrich the new poetic style, to reform the old poetic style, to carry out a series of creative practice, for the early Tang poetry innovation laid the foundation. The ideology of the Northern Wei Dynasty can be basically summarized as the combination of the Confucian ideology of the Central Plains model and the Buddhist ideology of the Liangzhou model. It is derived from Gandhara's Buddhist theory of governing the country. As far as its content is concerned, it can be summed up as "the application of Shamen to guide folk customs". At the time of Qi and Liang dynasties, with the increase of religious activities in the south of Liangzhou monks and the engagement between the south and the south. This thought of governing the country by Buddhism was introduced into the south. From a visual point of view, it is manifested in the increase of Buddhist festivals and rituals. In terms of the type of Buddhism, it is represented by the transformation of literati Buddhism into national Buddhism, and from the point of view of governing the country, it means that the south moves towards the north and adopts the ideology of the combination of Confucianism and Buddhism. It is of great significance to the Southern Dynasty.
【学位授予单位】：北京大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：K239

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