摘要:苏轼与辛弃疾作为宋词豪放派的创始人和集大成者，不仅提升了豪放词的创作水平，进一步拓宽了词的表现领域，同时也极大地拓展了词的表现手法。而细品苏辛二人词作，他们在作词的风格、手法和偏爱的意象等方面均有较大差异。苏词更旨在关注个人精神世界的解放，而辛词则将重点置于家国命运的宏大背景之下。故苏词清逸豪放，不乏旷达豁然的作品；辛词悲凉壮阔，充满对国家的担忧与牵挂。

　　　苏轼与辛弃疾处在不同的历史时期，面对不同的人生道路，其词作的内涵也各有千秋。本文通过东坡与稼轩词中的花卉意象的异同来探寻二人不同的文化意蕴——东坡更在意寄情，多是寄托情思，兼有一些自我鼓励的成分在其中；而稼轩属意于言志，他一直带有一种英雄主义的特质，更渴望的不是对月咏花，而是醉里挑灯看剑的豪情。

关键词：苏轼  辛弃疾  花卉意象  文化意蕴

Abstract:Su Shi and Xin Qiji as the founder of song ci reality and synthesizer not only promoted the creative standard of bold and unconstrained word, further broaden the word performance area, but also greatly expand the technique of expression of the word. And the fine goods SuXin two word, their in the style of writing lyrics, technique and preference images were quite different. Su to focus on the individual words are more spiritual world of liberation, and Xin will focus on the fate of the home countries grand background. So Su word clear bold and unconstrained, is many of the works of suddenly broad-minded; Xin word sad grand, and full of worries about the country and care.

　　Su Shi and Xin Qiji in the different historical period, facing the different life way, the word meaning is different. This article through to the slope and the flowers image jiaxun ci the similarities and differences between the two different explores the cultural significance of slope-more about valentine, is more on feeling, with some encouraging yourself ingredients in it; And having JiaXuan in speech ideal, he has been with the characteristics of a heroism.

Key Words：Sushi  Xin Qiji  Flowers image  Cultural implication

　　　东坡是在词的世界里一抒胸臆，表达自己旷达乐观的人生态度，寄托抱负未酬的情致，大体看来，东坡的词在清放之下略带忧伤。东坡笔下的花卉意象整体变化不大，多是寄托情思，兼有一些自我鼓励的成分在其中，也能反映出词人在被贬谪期间内心渴望被重用的入仕思想。总体来讲，东坡与花是知己。而东坡运用花卉意象，没有了作为一个豪放词人的大开大阖的气势，反而显得清新脱俗。这与同时期的北宋婉约词人的把花与“艳”划等号的词风大不相同。

　　　稼轩的词则更加富有冲击性，表达不得志则更彻底、更消极，比之东坡，他的英雄之气更盛。他一直带有一种英雄主义的特质，更渴望的不是对月咏花，而是醉里挑灯看剑的豪情，所以我们很容易在稼轩的花意象中找到他不得志的寄托点,，主观色彩也十分浓郁。他的咏花词摆脱了“吟风雪，弄花草”的婉约俗套，将身世之遇、家国之思、时局之感融入词中，极大提高了咏花词的社会价值和思想意义。在艺术风格上，稼轩一改豪放之气，咏花词大多婉约清丽，却也不乏刚健之笔，从而形成了刚柔相济的审美特点；在艺术表现上，稼轩加入了塑造形象、描绘用典、比兴寄托等创作手法，改变了咏物词单一白描、比喻等手法的传统，促成了咏花词艺术上的新变化，提高了咏花词的艺术价值。