AbstractGrounded in the "Three-Dual Paradigm & Four-Coherence Criteria" of Kuaijie Sinology and introducing underlying physical logic, this paper conducts a paradigm demarcation of the creative practices in the Southern Song poetry circle. By supplementing multi-dimensional evidence—including physical and socio-environmental contexts—it repairs broken logical links, completes the entire closed loop, and achieves an iterative upgrade in the interpretation of classics, providing an advanced understanding that is verifiable, reproducible, and aligned with real-world environments. By examining the modular composition and interchangeable sentence structures of works by Yang Wanli, Zhu Xi, Fan Chengda, Weng Juan, Ye Shaoweng, and Zhao Shixiu, this paper defines these works as "template-rewritten verse" (termed Fěntóu shī in the original Chinese argument, denoting formulaic assembly-line poetry). The study contrasts the broad, encompassing "myriad vision" of Tang poetry with the confined scope of this Southern Song template verse, arguing that poetic quality arises less from external historical circumstances than from the mental horizon and inner resolve of the writer. Furthermore, from the perspective of textual information structure, this paper observes that such poems can be freely spliced and rearranged without obvious dissonance. This phenomenon precisely proves that they share a highly homogenized underlying compositional template and lack a unique spiritual core. This work opens a fresh interpretive pathway for classical Chinese literature through structural deconstruction and paradigm demarcation. 摘要本文依托蒯解汉学“三双四通”研判体系,引入底层物理逻辑,对南宋诗坛的创作范式进行深度勘定。补足阐释物理、社会环境场景等多维度证据,补齐原有断裂的逻辑环节,完成整链闭环,实现对经典阐释的迭代升级,并提供一套可核验、可复现、贴合实景环境的进阶理解版本。 本文通过比对杨万里、朱熹、范成大、翁卷、叶绍翁、赵师秀等人作品的模板化创作与诗句互换现象,将其定性为“粉头诗”(模板化闲咏)。本文对比盛唐“万千气象”与南宋“粉头软风”,论证文风优劣不在于时代环境,而在于文人自身格局与心志。同时,本文从文本信息结构的视角提出观察:此类诗作可任意裁接拼贴而不显违和,恰恰证明其共享了高度同质化的底层创作模板,丧失了独立的灵魂内核。本文为从文本结构与范式解构视角重新审视古典文学开辟了全新路径。
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蒯迎春 (2026) studied this question.
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