海南大学学报(社会科学版)

作为宋代最早谈论诗料者，苏轼从自然物象、书本知识两端搜取诗料。苏轼定州诗用“代北”“太行”刻画地方，而不赋咏深具诗歌传统的幽蓟，这与元祐末年政局有关。面对诗涉边事的危机和诗料匮乏的困境，苏轼移用南方乃至海外物象。苏轼到海南后，由耳闻目睹而习得的地方知识主要集中于民俗方面，因此在写作上陷入了取资困境。典籍中海南人文故实的匮乏迫使苏轼开掘其海洋知识中“海”的一面，而淡化具体位置之于用事切地的重要性。两处地方书写的灵感来源于北宋诗画关系的新变，借助图经、景观图的流播而呈现于诗歌中的“地方”未必皆合实际，但在此过程中得到存留和提炼的地方性，促进了宋人地域认同和创作习性的形成。

As the earliest poet who mentioned the poetic materials in the Song Dynasty, Su Shi gathered poetic materials from both natural phenomena and book knowledge. Su Shi used "Daibei" and "Taihang" to depict the area in his poem about Dingzhou, instead of praising Youzhou and Jizhou with poetic traditions. This had something to do with the political situation in the late Yuanyou Era. Faced with the crisis of poetry involving the border issues and the dilemma of a lack of poetic materials, Su Shi turned to images from the south and even overseas. After Su Shi arrived in Hainan, the local knowledge acquired through his personal experiences and observations mainly focused on folk customs, and he was lost in the dilemma of scarce reference materials in his literary writing. The scarcity of humanistic and historical facts about Hainan in the classics forced Su Shi to explore the side of "sea" with his maritime knowledge, and downplay the importance of specific locations in relating to a certain place with allusions. The inspirations for the writing of two places come from the new changes in the relationship between poetry and painting in the Northern Song Dynasty. Although the "area" in the poetry presented through the dissemination of illustrated books and landscape maps may not necessarily be realistic, a localized essence preserved and refined through this process had promoted the formation of regional identity and creation habits among the people in the Song Dynasty.