花间集

其次，介绍《花间集》中的女性发式。

Second , it introduces " Huajian philatelic " female hair .

金元两代在《花间集》接受史上是一个低谷。

The acceptance to Hua Jian Ji at these two periods is at a low tide .

明代是《花间集》接受史的第二个高峰期。

Ming Dynasty is the second climax stage in the acceptance history of Hua Man Ji .

明人作词与选词都有与《花间集》关系密切者。

The composition and selection of Ci in Ming Dynasty have close relations with Hua Man Ji .

另一方面，《花间集》的艺术技巧和表现方式则属于雅文学的范畴。

In the other hand , obviously its artistry and technique of expression belong to the refined literature .

不过后人对《花间集》的评价有褒有贬，并不一致，这是因为不同的读者对其进行了不同的解读。

However , later generations have various comments on it because of their different standpoints in interpreting it .

《花间集》体现了对中国古代正统文学审美情趣的悖离和叛逆。

This paper argues that Hua Jian Ji reflects a deviation from orthodox aesthetic appeal of Chinese classical literature .

全文由四个部分组成：一、《花间集》的产生，论述了《花间集》的创作客体。

The thesis is divided into four pieces : Firstly , the production of " Hua Jian Collection " .

正文共四章：第一章分析《花间集》中的女性妆饰描写。

The body is divided into four chapters : The first chapter analyzes " Huajian Ji " female ornaments description .

《花间集》中屡屡出现的江南美景、风物、人情等意象反映了积淀在花间词人心中的“江南情结”。

InHua Jian Collectionthere often appear the beautiful sceneries , customs and feelings , which reflect the Ci writers'south complex .

本文试从文学创作活动的各个环节入手，对《花间集》进行研究。

This paper tries to make further discussion about " Hua Jian Collection " from every link of creative writing .

汤显祖对待《花间集》这一民族文化遗产的态度给后人不无启示。

Tang Xianzu 's attitude towards " the Collection of Ci about Flowers ", the national cultural heritage , bequeathed an enlightenment for later generations .

《花间集》中美艳而多情的女性形象的描绘体现了男性理想的期盼，实际上是男性词人对女性心理期待的诗意化表达。

The elegant female images full of passion in Huajianji embody the males expectation of ideal and also represent the males poetic expressions to the female .

在未来研究中，可立足于欧阳炯、赵崇祚的生平考证以及《花间集序》版本流传、文字训诂等方面作进一步深入研究。

In the future research , we can base on Ouyang Jiong ′ s and Zhao Chongzuo ′ s biographical verification , the spreading of the Preface ′ s vari .

所以我们必须重视读者在《花间集》流传中的作用，加强《花间集》接受史的研究。

Therefore , we must pay more attention to readers 's role in the dissemination of Hua Jian Ji , and thus to encourage the research on the acceptant history of it .

从时代社会与文化的变迁、唐代文人曲子词的发展以及蜀地生活环境的滋养三方面来阐述《花间集》产生的客观条件。

It relates the creative object of " Hua Jian Collection " and objective conditions from the perspectives of the changes of times , the development of Ci-poetry in Tang Dynasty , and the nourishment of the environment in Shu district .

牛峤是唐末五代的重要词人之一，其作品在当时已广为流传，现存牛峤的作品主要收录在《花间集》中。

Niu Qiao was one of the importance of poets in the late Tang and Five Dynasties , his works had been widely circulated at that time , the existed record of his works mainly in the " Hua Jian Ji " .

在《花间集》中，使用频率最高的十五个词牌名，词作数量占总数的61%，而这十五个词牌名中有九个可以基本认定不是胡乐而是属于清商乐的范围。

In the " Hua Jian ", the most frequently used 15 tune name , the number of works for 61 % of the total , and can identified 9 tune name is not belong to minority music but belong to Yan Music .

结语部分：揭示了《花间集》各类副词及其各小类内部使用的不平衡性，分析了副词的功能特点，说明了《花间集》的副词系统具有鲜明的层次性。

The conclusion part : we reveal all kinds of adverbs and its internal use of the various subclasses imbalance , analysis of the features of the adverbs , shows that the adverb system of Hua Jian Anthology has system has a distinct hierarchy .