明代的提学制度,是国家基层教学和人才选拔的重要保障,也是未第士子较早接触京城文风并建立学缘关系的一次机会。弘治陕西复古作家群的崛起,就与提学官杨一清、王云凤所创立的书院式集中教学法密切相关。后来李梦阳、何景明、边贡、李攀龙、李维桢、王世懋等复古派核心作家,亦借助各自在地方上的提学经历,采用督导教习、刊印图书等多种方式,建立起复古文学思想在中央和地方之间的常规流动通道。由此形成了一条复古文学年轻人才培养与选拔的专门路径,得以制衡馆阁文学的庶吉士培养模式,保持了阁、部文学在发展规模上的相对均势状态。明代文学之馆阁、郎署、地方的三层文学格局,在此两两互动和竞争的关系中,得到更充分的展现。 The system of teaching-learning in the Ming Dynasty was an important guarantee for the nation’s grass-roots teaching and personnel selection. It was also an opportunity for the non-scholars to come into contact with the style of the capital earlier and establish a relationship of learning. The rise of Hongzhi’s ancient writers group in Shaanxi is closely related to the college-style centralized teaching method founded by Yang Yat-sen and Wang Yun-feng. Later, the core writers such as Li Mengyang, He Jingming, Bian Gong, Li Panlong, Li Weizhen and Wang Shimao also used the methods of supervising and teaching, printing books and other ways to establish the ideas of retro literature Conventional flow channels between central and local. Thus, a special path of training and selecting young talents in retro literature was formed, which was able to counterbalance the cultivation of cabinet-knit literary style and maintained the relative balance of power in the development scale of the cabinet and ministry literature. The three-tier literary pattern of pavilion, Lang department and local place in Ming Dynasty literature is more fully demonstrated in this interactive and competitive relationship.