怀风藻

《怀风藻》，日本现存最古老汉诗选集。

编撰背景

《怀风藻》编辑时，日本正处在全面模仿中国的时期，政治上实行律令制，文化上大规模创作汉诗。根据《怀风藻》的序言，由于近江朝（因飞鸟时代天智天皇定都近江国，故称近江朝）政治安定，民生平和，促进了诗文创作的发展。

编者

《怀风藻》于751年（天平胜宝三年）编纂完成，编者不详。有指编者是大友皇子的曾孙淡海三船，理由是诗集的“诗人略传”中编者对近江朝有着同情笔调。然而也有谓编者是葛井广成、藤原刷雄或石上宅嗣等，至今未有定论。

内容简介

首部日本人以明确的文学意图创作的汉文作品。诗集名为《怀风藻》，其序文写道：“余撰此文意者、为将不忘先哲遗风、故以懐风名之云尔“。意即“缅怀先哲遗风”。“藻”字则可能典出陆机《文赋》：“藻，水草之有文者，故以喻文焉”。

全诗集收录64位作者共120首作品。作者都是当时的皇族显贵，例如文武天皇、大友皇子、川岛皇子、大津皇子和其他官吏、儒生、僧侣等（其中18人兼为《万叶集》收录的和歌作者）。诗歌以五言八句为主，内容方面包括侍宴从驾、宴游、述怀、咏物等，借用儒道老庄典故，文风浮华，讲求对仗，似是深受中国六朝文学影响。

《怀风藻》的出现，象征自奈良时代起日本文坛对汉文学的重视。而且值得注意的是，当中的诗歌有很多是宫廷诗宴这种官式场合的酬唱，这也反映当时尊尚汉风文化的潮流。

The Kaifūsō (懐風藻; Florilegium of Cherished Airs) is the earliest extant anthology of literary Sinitic poetry (kanshi) written by Japanese poets.

It was compiled in 751. In the brief introduction of the poets, the unknown writer seems sympathetic to Emperor Kōbun and his regents who were overthrown in 672 by Emperor Tenmu after only eight months of rule. Thus, it has been traditionally credited to Ōmi no Mifune (722–785), a great grandson of Emperor Kōbun. It also has been said that Fujii no Hironari (n.d., fl. first half of 8th century) and Isonokami no Yakatsugu (729–781) could be the compiler.

The kanji 藻 (sō) in the title means "water-plant", which is a metaphor for elegant style. The work is a collection of 120 works by 64 poets written in the elegant style of poetry built on Tang dynasty models in the eighth century. Most of the poets are imperial family members, court officials and monks, such as Prince Ōtsu. Eighteen of the Kaifūsō poets, including Prince Ōtsu, also have poems selected in a later anthology of Japanese poetry, the Man'yōshū. Most poems come from poetry banquets for seasonal festivals, imperial excursions, or banquets hosted for Silla envoys.

At the time the Kaifūsō was written, Sinitic poetry had a higher place in the Japanese literary world than waka, and Chinese characters were used for official documents. Composition in literary Sinitic became widespread during the reign of Emperor Tenji (668–671, r.661–672). In the preface of the Kaifūsō, a distinction is made between the basic technology of writing and the embossed poetry and beautiful prose that arose through, and that completed the regulation and ritual of, the new code-based state. Just as the Wen Xuan preface provided inspiration for the vision of literary history in the Kaifūsō preface, Chinese medieval poetry provided a model of individual authorship and a rich treasury for sophisticated diction.