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自《沈括诗词辑存》面世后,研究者集中在两方面研究沈括诗词:一方面着重探讨沈括诗词的史料价值,如祖慧先生从沈括的《图画歌》、《延州诗》、《鄜延凯歌》等显现其诗歌的科学和历史史料价值1;另一方面则将沈括的诗词理论与创作分开来研究,如杨渭生先生从沈括重视诗歌的情韵,以及与音乐、绘画的结合等探讨诗歌理论,然后单独就其诗歌创作进行研究2。事实上,沈括的诗词创作与诗词理论有着十分密切的联系,基于此,本文主要探讨沈括诗词理论观照下的诗词创作情况。一、当行本色的诗体追求——诗人之诗宋初出现了宗唐的白体、晚唐体和西昆体
Since the publication of Shen Kuo Poetry Collection, the researchers have focused on Shen Kuo poetry in two aspects: On the one hand, it focuses on the historical value of Shen Kuo poetry. For example, from the quotations of Shen Kuo’s “Picture Song”, “Yanzhou Poetry”, " On the other hand, it studies Shen Kuo’s theory and creation of poetry separately. For example, Mr. Yang Weisheng focuses on poetry from the perspective of Shen Kuo, as well as the combination with music and painting The theory of poetry, and then study the poetry creation alone.2. In fact, Shen Kuo’s poetry creation has very close relationship with poetry theory. Based on this, this paper mainly discusses the creation of poetry under the background of Shen Kuo poetry theory. First, when the qualities of the pursuit of poetic style - the poet poem Song Dynasty appeared in Tang white body, late Tang body and body