摘要
驴、牛和马是古代的坐骑,但在中国、朝鲜、日本的传统诗文和绘画中,“骑驴”、“骑牛”或“骑马”却有着特殊的象征意味。唐代诗人孟浩然作为一个布衣诗人,他的骑驴在后代形成了一个典范。朝鲜古代文人接受了这种传统,但结合其自身的生活而选择牛为坐骑,其蕴含的精神同于中国诗人之骑驴,都是和骑马相对,表现了在朝与在野、出与处、仕与隐的对峙。有趣的是,尽管在日本诗人笔下也有骑驴的描写,但却消释了驴马相对的政治意味,仅仅是出于对中国诗人外在标志的模仿。从三个国家汉文学中有关骑驴和骑牛的描写中,可看出汉文化圈中文人观念的形成、演变以及东亚文学世界中的同中之异和异中之同。
Donkeys, oxen and horses were used as riding animals in the pre-modern times. However, in Chinese, Korean and Japanese traditional writings and paintings, riding a donkey or ox or horse bears special symbolic meanings. The image of donkey-riding, created by Meng Haoran, the Tang Dynasty Chinese poet without any official title, became exemplary to the later generations. The Korean pre-modern literati accepted and adapted such a tradition by replacing the donkey with an ox. The Korean image of ox-riding expresses the same spirit with the Chinese image of donkey-riding as opposite to horse-riding, an opposition between to be or not to be a member of the ruling class, between being aloof from or involved in worldly affairs, and between being an official or being a hermit. It is rather interesting to notice that such implication of political opposition disappeared in the images of donkey riding in Japanese poetry, which seemed to be a simple and superficial imitation of Chinese poetry. The images of donkey and ox riding in the Chinese language literature in China, Korea and Japan provides a clue to the understanding of the formation and development of the notion of＂zoen ten＂ （literati） in the circle of Chinese culture, and the interactive similarities and differences in the world of East Asian literature.
出处
《清华大学学报（哲学社会科学版）》
CSSCI
北大核心
2007年第1期12-24,共13页
Journal of Tsinghua University(Philosophy and Social Sciences)
基金
国家"985工程"---"汉语言文学与民族认同"哲学社会科学创新基地成果之一
关键词
骑驴
骑牛
盂浩然
汉文学
绘画
donkey riding
ox riding
Meng Haoran； Chinese language literature； painting
作者简介
张伯伟，南京大学人文社会科学高级研究院特聘教授（南京210093）
