中国文学在越南的交流及传播
第一节 汉文字、汉文学在越南的起源
Throughout history, Vietnam has been one of the earliest countries to engage in cultural exchanges with China, with literary exchange serving as a significant medium of this interaction This exchange has greatly influenced both nations, enhancing the Vietnamese people's understanding of Chinese culture and fostering friendly cooperation between the two countries Furthermore, translation and dissemination have become crucial components of cultural exchange, acting as vital bridges for the cultural development of both nations.
Throughout history, Vietnam has been part of the "Confucian cultural sphere," where early interactions with Chinese culture made Chinese characters a crucial communication tool in politics, administration, and the imperial examination system This significant influence of Chinese characters enabled the Vietnamese to develop their own script, known as Chữ Nôm Vietnamese ancient literature flourished from the mid-10th century to the mid-19th century, marking a period of emergence, growth, and prosperity for both Chinese and Chữ Nôm literature.
The introduction of Chinese characters and culture to Vietnam is believed to have begun around the time of the Qin and Han dynasties, specifically with the governance of the Jiaozhi region Vietnamese scholars generally agree that the study of Chinese characters in Vietnam started during the Zhao Tuo era (around 207 BC to 111 BC) Notably, scholar Tao Weiying suggests that our ancestors began learning Chinese characters during the early Northern period, around Zhao Tuo's time In 679 AD, the Tang Dynasty reformed the Jiaozhou governorate into the Annam Protectorate, leading to significant advancements in local education and the strong development of Chinese culture in Annam During this period, Annam adopted educational systems and talent policies similar to those in mainland China, resulting in a more structured development of Chinese character pronunciation, usage, and teaching Linguist Nguyen Tai Jin points out that the Vietnamese pronunciation of Chinese characters derives from the Tang Dynasty's phonetic system taught in Jiaozhi during the 8th and 9th centuries Furthermore, Chinese literature became a primary medium for education, imperial examinations, Buddhist translations, and cultural activities among intellectuals in Annam, marking over a millennium of the influence of Chinese language, culture, and literature in the region, which laid the foundation for Vietnam's literary emergence after independence.
In ancient times, during its period as a part of China, Vietnam was known by various names including Jiaozhi, Jiaozhou, and Annan After gaining independence, it initially referred to itself as Đại Cồ Việt, which was later changed to Đại Việt and eventually Vietnam.
Tao Wei Ying (1904-1988) was a prominent Vietnamese scholar and Marxist historian known for his significant contributions to the study of Vietnam's history, geography, lexicography, culture, and folklore.
③ [越]陶维英.越南文化史纲.河内：文化信息出版社，2002:299
④ [越]阮才谨.汉越读法的起源和形成过程.河内：国家大学出版社，2000:19
The establishment of vital conditions laid a strong foundation for the dissemination of Chinese literature in Vietnam during the period when Vietnam was integrated into Chinese territory This historical context significantly prepared the groundwork for the spread of Chinese literary works in Vietnam during its nation-building era.
Before the mid-10th century, Vietnam was rich in oral literature, which emerged from the communal life and collective labor of its people, encompassing genres such as myths, legends, ballads, and stories The mid-10th century marked a significant turning point as Vietnamese scholars began to compose works in Classical Chinese, signaling the birth of Vietnamese Han literature and the beginning of ancient Vietnamese literature.
In 968 AD, Vietnam gained independence with the establishment of the first dynasty, the Dinh Dynasty, marking the beginning of an independent nation known as Đại Việt This period saw the rise of several dynasties, including the Dinh, Early Le (10th century), Ly (11th-12th centuries), Tran (13th-14th centuries), Ho (early 15th century), Later Le (15th-18th centuries), Mac (16th century), Tay Son (late 18th century), and Nguyen (19th century) Throughout these dynasties, the use of Chinese characters was actively adopted, remaining the official writing system of Vietnam until the late 19th century, and was the primary medium for the imperial examination and literary works.
In the late 12th century, Han literature was the sole literary form on the Vietnamese literary scene, largely influenced by the widespread popularity of Buddhism at the time, resulting in a predominant focus on Buddhist themes in its content.
From the 13th to the late 14th century, Vietnam's history experienced a period of consolidation and development of feudalism, creating a favorable environment for the growth of Vietnamese literature Vietnamese classical literature, particularly in Chinese, encompassed various forms such as poetry, essays, and classical prose, showcasing a rich diversity of content These works celebrated national history, expressed military sentiments, critiqued social issues, depicted the beauty of landscapes, and reflected on the vicissitudes of life During this time, classical literature dominated and increasingly matured and flourished.
In the late 13th century, the emergence of Nom script marked a significant development in Vietnamese literature, as it provided a means to express daily spoken language, which Chinese characters had failed to achieve Nom script, resembling Chinese characters, was created based on them and utilized various methods such as phonetic, ideographic, and borrowed elements This innovation represented the first integration of written and spoken Vietnamese, enriching the literary landscape despite its slower growth compared to Chinese literature The advent of Nom literature was a crucial step towards unifying spoken and written Vietnamese, enhancing the expression of the language.
From the early 15th century to the late 17th century, Chinese literature, particularly in the form of Han poetry, experienced a period of prosperity During this time, many Vietnamese scholars were able to directly read Chinese literary works and created their own literature using Chinese characters.
是到 16、17 世纪，越南社会动荡、战乱不断，文学自然也体现了伤感情怀、控
During this period, literature began to reflect the horrors of war and the realities of society, leading to the rise of Nom literature in Vietnam Prominent literary figures of the time produced a significant number of Nom poems, primarily in the form of Tang poetry or its variations This artistic movement gained momentum in the 16th century.
By the early 17th century, the Six-Eight and Double Seven-Six-Eight poetic forms of Nôm poetry had been established, enriching the themes of Nôm literary creation Subsequently, many long narrative poems in Nôm emerged in the Tang law form and Six-Eight style, marking the continuous development of Vietnamese Nôm literature The rise of Nôm literature from the early 15th century to the late 17th century laid a solid foundation for the flourishing of Nôm literature in the 18th century.
From the early 18th century to the mid-19th century, Chinese characters and Nom script emerged as the two primary writing systems used by Vietnamese scholars in literary creation Vietnamese Han literature continued to thrive, showcasing a rich variety of genres, improved quality, and an expanding pool of writers In parallel, Nom literature, which began to appear in the late 13th century, experienced a significant resurgence by the 18th century, with increasingly refined genres and artistic achievements Notable works include Nguyen Du's "Kim Van Kieu," Duong Thi Diem's "Tranh Phu Yen," and Nguyen Gia Thieu's "Cung Oan Ngam Khuc," alongside numerous anonymous long narrative poems in Nom script Additionally, the creation of Tang-style poetry in Nom was elevated by the contributions of prominent female poets, particularly Duong Thi Diem, Ho Xuan Huong, and Lady Trieu Quan.