本文摘取初唐、盛唐、中唐、晚唐时期的21位诗人近千首含“烟”诗歌中的“烟”词语211个，从语言、文学、文化等角度，对唐诗中的“烟”词群进行了梳理和阐释。

第一章为绪论。笔者从选题缘起及研究意义、国内外研究现状、研究方法与语料简介三方面对论文整体情况作出说明。

第二章为唐诗中“烟”的语义分析。唐诗中的“烟”有7个义项，烟₁为“物质燃烧时所产生的气状物”，烟₂为“像烟一般的气状物，如云、雾、山川间水气等”，烟₃为“大地间自然蒸腾上升的土气、燥气等”，烟₄为“烟熏后所积的黑灰”，烟₅为“墨”，烟₆为“柔美貌”，烟₇为“通‘胭’”。其中，烟₁为本义，烟₁与烟₂为主要义项。“烟”作为构词语素时，烟₂成词能力最强，烟₁次之。

第三章为唐诗中多音节“烟”词语的构词与语义分析。在构词上，绝大部分“烟”词语呈现偏正关系，少部分词语呈现联合关系，极少词语呈现动宾关系与主谓关系。“烟”语素可以和名词语素、形容词语素、动词语素组合成“烟”词语。其中，名词语素与之组合成词能力最强。在语义上，双音节“烟”词语主要属于自然意义范畴，与之组合的语素从各个方面修饰“烟”或被“烟”修饰；三音节“烟”词语则主要属于社会意义范畴。同时，“烟”词群也体现出隐喻与转喻认知机制对构词与语义生成的影响。

第四章为唐诗中“烟”词群的情韵义阐释。“烟”词语常见情韵义有战时悲怆、离愁别绪、漂泊思归、归隐野趣、仕途夙愿、求仙问道。这些“烟”词语的情韵义既有对先唐时期诗歌中情韵义的继承与保留，也有在唐时期逐渐形成的情韵义。同时，大部分“烟”词语出现在“悲”的情境中，与迷茫、孤独、惆怅相关；少部分词语出现在中性情境中，如仙道情境；极少部分词语出现在“喜”的情境中，相对集中于春日丽景、宴席胜景的描写中。

第五章为唐诗“烟”词群与中国文化的阐释。笔者从文化语言学角度出发，考察了两者的相互关系。“烟”词群呈现出汉民族传统思维中具象性、情感性、整体性三点特征；反映出唐时期文人雅士们对“阴柔美”的审美趣味；折射出儒释道文化对意象词语的影响。

第六章为唐诗“烟”词群与对外汉语教学。笔者结合现今对外汉语教学中唐诗教学的重要意义与唐诗中词汇教学的现状，笔者提出了关于诗歌的词汇教学的三点建议：一是建立“词群教学”概念，在总词群内部细分出小词群进行教学的方法，在具体教学中遵守“生动性”、“讲解具体词项为主，词群词项为辅”、“综合性”原则；二是建立“文化教学”概念，充分把握诗歌意象词语的情韵义、文化内涵与文化词；三是建立“意象教学”概念，教师应主动选择唐诗中常出现的意象，并了解与之相应的意象词语的呈现方式。

第七章为总结。笔者总结了论文的基本观点，并在此基础上提出了论文的不足与相应的展望。

This article extracts nearly 211 words of "yan" from 21 poets in the early Tang Dynasty, the prosperous Tang Dynasty, the middle Tang Dynasty and the late Tang Dynasty, including nearly a thousand "yan" poems. From the perspectives of language, literature, culture, the "yan" word family in Tang poetry was sorted out and explained.

The first chapter is an introduction. The author explains the overall situation of the thesis from three aspects: the origin of the topic, the research significance, the current research situation at home and abroad,research methods and the introduction of  corpus.

The second chapter is the semantic analysis of "yan" in Tang poetry. There are 7 meanings of "yan". Yan₁ is "gas generated by the burning of matter", and yan₂is "gas like smoke, such as clouds, fog, water vapor between mountains and rivers," Yan₃is "the gas from soil and dry air ", yan₄is "black ash accumulated after combustion", yan₅is "ink", yan₆is "soft and beautiful", and yan₇is " phonogram 'yan' ". Among them, yan₁ is the original meaning, and yan₁and yan₂are the main meanings. When "yan" is used as a morpheme, yan₂has the strongest word formation ability, followed by yan₁.

The third chapter is the word formation and semantic analysis of the multi-syllable "yan" words in Tang poetry. In word formation, most of the "yan" words show structure of modification, a few words show federated structure, and very few words show a verb-object relationship and a subject-predicate relationship. The "yan" morpheme can be combined with the nomial morpheme, adjective morpheme and verb morpheme. Among them, nomial morpheme's ability of combining into words is the strongest. Semantically, the two-syllable "yan" words mainly belong to the category of natural meaning, and the combined morphemes modify "yan" or they are modified by "yan" from all aspects; the three-syllable "yan" words mainly belong to the category of social meaning. At the same time, the "yan" word family also reflects the influence of metaphor and metonymy on word formation and semantic generation.

The fourth chapter is the interpretation of the sentimental meaning of the "yan" word group in Tang poetry. The common sentimental meanings include sorrow in war, separation from sorrow, wandering and thinking, returning to the wild and interesting, wishing for a career, and asking for immortality. The sentimental meanings of these "yan" words not only inherit and retain the sentimental meaning in the poets of the pre-Tang period, but also have the sentimental meanings gradually formed in the Tang period. At the same time, most of the "yan" words appear in the context of "sorrow" and are related to confusion, loneliness, and melancholy; a few words appear in neutral situations, such as the immotal situation; very few words appear in the situation of "joy",  such as the description of the spring scenery and the banquet.

The fifth chapter is the interpretation of the relationship between the "yan" word family in Tang poetry and Chinese culture. From the perspective of cultural linguistics, the author examines the relationship. The "yan" word family presents the three characteristics in the traditional thinking of the Han nationality，including concreteness, emotion, and integrity; it reflects the aesthetic taste of "yin and soft beauty" by scholars in the Tang Dynasty; it reflects the influence of imagery words under culture of Confucianism, Buddhism, Taoism. 

The sixth chapter is the "yan" word family in Tang poetry and teaching Chinese as a foreign language. Combining the importance of Tang poetry teaching in the teaching of Chinese as a foreign language and the current status of vocabulary teaching in Tang poetry, the author puts forward three suggestions for vocabulary teaching in poetry: First is to establish the concept of "word family teaching" and subdivide within the total word family. In the specific teaching, we need abide by the principle of "vitality", "mainly explaining specific lexical items and supplementing the other lexical items" and the "comprehensiveness"; the second is to establish the concept of "cultural teaching" ，and fully grasp the emotional meaning, cultural connotation and cultural words of imagery words in poetry; the third is to establish the concept of "imagery teaching". Teachers should take the initiative to choose the imagery that often appears in Tang poetry and understand the corresponding expression of imagery words.

The seventh chapter is the summary. The author summarizes the basic ideas of the paper and puts forward the shortcomings of the paper and the corresponding prospects.