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学界公认永明体是律诗产生的雏形。从永明声律到初唐诗律定型,隋人尤其是刘善经对声律的总结、筛汰在这一过程中起到重要的衔接作用,但学界对此并未给予足够的重视。刘善经的《四声指归》引用描述了齐梁声律,同时对北朝文学创作实践中声韵的运用做出一番描述评价,从创作层面回应着理论诉求。对《四声指归》所引声律论的详细探究有助于定位隋代声律理论在从齐梁到初唐诗律定型中的作用与角色。
The academic community recognizes Yongming as the rudiment of the production of the law. From the Yongming rhythm to the stereotype of the early Tang Dynasty, the Sui people, especially Liu Shanjing, summarized the rhythm of sound, and the screening played an important connecting role in this process. However, the scholars did not pay enough attention to this. Liu Shan-jing’s “four-pointed finger-pointing” quoted and described the Qiliang acoustic law. At the same time, he described and appraised the use of the rhyme in the practice of the literary creation of the Northern Dynasties and responded to the theoretical demands from the creative level. A detailed exploration of the phonetic theory of “Four Fingers” helps to locate the role and role of the Sui Dynasty theory of sound law in the stereotype of poetry from Qi and Liang Dynasties to the early Tang Dynasty.