“兀然千载人，我爱陶征士”： 论高凤翰对陶渊明的接受.docxVIP

“兀然千载人，我爱陶征士”： 论高凤翰对陶渊明的接受 　　[摘 要]作为清代画坛扬州八怪之一的高凤翰，他的诗文创作成就少为人知，诗名为画名所掩，对陶渊明的接受是其诗文作品创作的一个重要特征，但这一创作特征历来没有得到学界的关注。高凤翰对陶渊明的接受是全方位的，不仅在诗文中用到陶渊明的典故，也化用陶渊明诗句，模拟陶诗意象，欣赏渊明志趣，仰慕渊明为人，还创作了数量众多的田园诗。高凤翰对陶渊明的接受贯穿其一生，在高凤翰不同时期的作品中都能发现陶渊明的影子。在诗文作品中如此大量有意识地拟陶、和陶、用陶，不仅在清代中前期文坛，即便是整个明清时期，也是为数不多的，高凤翰在清代陶渊明接受史上的地位应该受到学界重视。 　　[关键词]高凤翰;陶渊明;扬州八怪;接受史;清代　　[　　Research on Gao Fenghan’s reception of Tao Yuanming　　LV Xin-fu　　（School of Communication， Qingdao University of Science and Technology， Qingdao 266061， China）　　Abstract：As one of the eight eccentric artists in Yangzhou （Yangzhou Ba Guai， 揚州八怪） in Qing Dynasty， Gao Fenghan’s poetic achievements are little known， and his poems are covered by the name of the painting. His reception of Tao Yuanming is an important feature of his poetic creation. However， this creative feature has never received academic attention. Gao Fenghan accepted Tao Yuanming in an all-round way. He not only used Tao’s anecdotes in his poem， but also Tao’s poems to simulate Tao’s poetic image. He admired Tao’s aspiration and personality， and created a large number of idyllic poems. Gao Fenghan accepted Tao throughout his life， and Tao can be found in his works of different periods. It is rare to see such a large number of works of poetry and literature consciously drawing， mixing and using pottery in the early period of Qing Dynasty， even throughout the Ming and Qing Dynasties. So Gao Fenghan’s position in the reception history of Tao Yuanming in Qing Dynasty should be paid more attention to by the academic circle.　　Key words：Gao Fenghan; Tao Yuanming; Yangzhou Ba Guai; historical reception; Qing Dynasty　　高凤翰（1683—1749），山东胶州人，字西园，号南村，又号南阜山人，清代画坛“扬州八怪”之一①，是八怪中存世诗歌作品数量最多的诗人，有两千三百多首。他早年以诗、画闻名，受到诗坛领袖王渔洋的赏识，被许为私淑弟子[1]，在清中前期诗坛占有重要地位，《国朝山左诗抄》《晚晴簃诗汇》《四库全书存目丛书》《清代诗文集汇编》收录其诗文作品，《四库全书总目提要》《清人诗文集总目提要》《清人诗集叙录》对其诗文内容都有相应评价，清人称其为“东海东坡”[2]。相对于他的书画作品，学界对他的诗文作品研究薄弱，某种程度上表现出诗名为画名所掩的倾向，近年来虽有学者论及他的诗文作品[3]，但不够系统全面，对其诗歌创作整体风格、内涵、主旨的研究，仍有待深入和拓展。观其存世诗文作品，高凤翰对陶渊明的接受尤为值得关注，有大量内容与陶渊明有关，