摘要
隋唐時期的「窗」在形制上沒有太大變化，以繼承漢魏晉南北朝時期特點為主，但在細節裝飾上卻也有自己的獨特性，並非如有些學者認為的那樣簡樸無華。「窗」以其通風採光的實用性走進了人類的生活，隨後又以其觀景寓情的審美性走進了文學，經過六朝人的開創與潤色從而成為詩人筆下的審美意象，唐代詩人更是推陳出新創造了五彩繽紛的「窗」世界。綜觀《全唐詩》便會發現「窗」的審美性不只在其空間意識方面，更為重要的是與周圍環境構成了豪情、閑情和愁情等不同的抒情場景，並且在融匯生活情感的基礎上昇華為具有「家園」、「人格」等多層象徵義的抽象性意象。因此，《全唐詩》中的「窗」意象具有兩大特點：一、窗是構築不同抒情場景的關鍵因素；二、窗是一個具有豐富象徵意蘊的抽象性意象。
並列摘要
During the Sui and Tang Dynasties ”window” in the form does not change much, to inherit the main features of Hanwei Jin, Northern and Southern Dynasties period. However, a detail of decoration on it has its own unique, is not, as some scholars believe that it is simple. ”Window” with its ventilation and light comes into the practicality of human life, then with viewing and feeling walks into the literary and aesthetic. After the Six Dynasties' refination and creatation, ”window” becomes an aesthetic image in the Poetry. Moreover, the Tang Dynasty poet are more innovation to create a colorful ”windows world”. Looking at the entire Tang poetry, we will find that the aesthetic of ”window” is not only in its space, but also the lyrical scenes which is formed with different environment, including pride, trend and worried such as different situation. And on the basis of emotion ”window” image is drawed up a living symbol of justice and multiabstract imagery, such as ”home” and ”personality”. Therefore, the ”window” image in the entire Tang poetry has two major characteristics: first, the ”window” is key factor to build different lyrical scenes; second, ”window” is an abstract imagery which has rich symbol of the meanings.