自张骞出使西域、真正为中西交通开辟新纪元之后，随着中外交流的发展，不断有异域异族的外来物品填补、涌入到原有的中华文化领域中，对人民生活乃至汉文化发展产生了深远的影响。当“外来物”引进到一国或一族后，来自异国或异族的、物质形态的“信息物”逐渐浸入人们的生活视野之中，通过文人这一媒介，成为文学领域内的描述对象，经由作家创作时的心理和精神状态、主观想象等作用，在民族的跨越融合和历史长河的行进中沉淀发展，进而演变成为某种（或多种）审美观念、价值观念或思维方式。由单纯而实际可感知的“物”，经文人之“心”的过渡，到文学视野中的“物”形象，这个“由物质到精神”的过程往往会涉及人类学、民族学、历史学等相关领域的问题，存在很多值得探究之处。 本项研究正是以汉语文学中的外来物为研究对象，重点考察源自非中华民族的、由他国（或他族）舶来的物质主体在汉代至晚清文学中的描写情况，研究汉语文学中物质书写背后所承载的文化融合、兼收并蓄、文化变异等重要层面。 本文分为如下章节：绪论部分主要涉及研究对象与研究范围的界定、研究概况与文献述评、研究方法与研究意义等。笔者首先界定了“汉语文学”的指涉对象，分析了“物”与“心”等概念范畴，又说明了本文所涉及的“外来物”的三重涵义，并就本项研究主要侧重的具体外来物给予了举例说明。在就目前本课题领域已有的研究成果和亟待解决的问题进行分析的同时，笔者就本文将使用的研究方法、研究思路、研究重点等给予了说明。本文的研究意义和价值也包括在这一部分当中。 本文第一章，笔者在总结汉代以前所传入的外来物基础上，将研究重点放在两汉魏晋南北朝文学中的外来物书写之上。笔者分两汉、三国魏晋南北朝两个历史时期，分别说明该时期内外来物的传入情况。两汉时期，确切地说自汉武帝以后，文学中渐渐开始成系统地出现外来物的身影，这个时期的外来物较多出现在“赋”这种文体中。三国魏晋南北朝时期，由于政局不稳、战乱连连，民族融合的步伐加快，这个时期是外来物之于文学产生明显作用的第一个高峰期。外来物的传入无疑扩大了汉魏时期文人的书写视野；外来物的传入使汉魏文学中的“异”因素萌发、增强；同时，外来物影响了魏晋南北朝时期南北方文学风格；而印度佛教文化/文明传入中国，则促发魏晋南北朝时期文学产生变异和活力，达到异常繁荣的局面。 第二章，笔者的研究重点是隋唐文学中的外来物书写之上。笔者用史实材料说明隋唐时期传入中国的外来物的同时，就唐代诗歌、散文、传奇等文体中的外来物书写分类进行了说明。笔者另就边塞诗派诗歌创作与外来物的关系、李贺诗歌中的外来物、《酉阳杂俎》、《杜阳杂编》等作品中的外来物书写进行了深入细致的探讨。笔者认为：唐代文学中出现大规模的外来物书写，一是因为中外文化交流的繁荣发展，隋唐时期大批外来物成规模地出现在普通百姓的视野之中，文人接触外来物的机会增多；二是因为文人数量的剧增，带来文学作品数量的增多；三是特定文学样式如边塞诗的流行，促发了文人们对外来物的特殊关照。 第三章，笔者的研究视角放在宋元时期文学中的外来物书写。笔者以史料为纲，探讨出宋元时期外来物流传到中国的基本类型。同时，笔者考察了宋词、宋代笔记小说、元曲、元代博物类笔记小说著作中的外来物书写，并就各文体中的外来物书写特征进行了分析评述。宋代的词人对外来物的描写基本没有突破唐代文学的呈现样式，宋代词人们对外来香药的关注强于对同时期其他外来物的关注。由于元人汪大渊本身的涉外经历，其著作《岛夷志略》需要引起格外的关注。 第四章，笔者关注的是明清时期文学中的外来物书写。较之前代的外来物传入种类，明清时期传入中国的外来物更呈现出科技、工艺技术上的优势。由于元代大量的笔记体史学著作大规模繁荣出现，促使明代文学中的外来物书写更具规模化，最直接的反映是在明代出现专门描写海外西洋世界的“外洋”小说。另外，明代文学中对西洋布、自鸣钟、佛郎机、西洋枪炮等新型外来物的描写也成为明代文人展现外来物新阶段特征的重要途径。在个案分析上，笔者选取了与外来传教士有过交往且亲历广粤、琼州等沿海地区的汤显祖为例，就汤显祖诗文、戏曲中展现的外来物书写予以了详细探讨。至清代，笔者以尤侗“外国竹枝词一百十首”为代表，并以清代文人中广泛出现、且在接受态度上众说纷纭的“淡巴菰”（烟草）为例，探讨了清代诗文中的外来物书写。同时，笔者也着力剖析了清代小说中的外来物书写，分析了《十二楼》、《红楼梦》、《水浒后传》、《荡寇志》、《照世杯》、《镜花缘》、《绣戈袍》、《草木春秋演义》等小说中所呈现的外来物世界。 第五章，笔者关注的是晚清小说中的外来物书写。笔者借助比较文学跨文明研究的有关思想，试图探索从“夷”到“洋”的观念转变，以晚清小说为研究范本，抓住“西洋物”这个关键因素，通过“西洋物”这个对中国近代化进程和中国近代思想史发展起重要作用的物质因素，来展现中国近代文化与西方文化的冲突与碰撞、交流与融合；从对中国社会和思想等层面带来巨大变迁的“坚船利炮”、影响世人生活、沁入各个生活细节的“声光化电”、“奇技淫巧”等西洋外来物，回溯“西洋物”在晚清小说中的呈现状态，关注物质研究的重要意义，展现出中国社会从对“洋物”的抵制、惊奇、接受到警醒、思危继而效仿西方、全盘西化直至后来新文化运动的大旗竖立这一连续的历史脉络，以期说明西洋枪炮等洋物的冲击并不单单“开启”了中国历史的近代化进程，它带给中国的是从“物”到“心”（精神）再到“运动”的种种变革。 第六章中，笔者就中国历史上外来文化融入中国的两个特殊时期——晚唐和晚清，就这两个阶段文学中的外来物书写进行了比较研究。这两段时期虽然时间跨度大略相同，但文人在文学创作中所体现出的、对待西方文化的态度却截然不同。从文学作品中对外来物的描写角度来看，晚唐小说中，作者对外来物的描写更倾向于其“稀“、“奇”、“异”等特征，并根据作者的主观想象，对外来物赋予了超出人力、自然力以外的神性和特异功能，从接受态度上说，透露出的是新鲜、猎奇的心理，并不具有羡慕、恐惧、排斥等心理；而晚清小说透露出的则多是世人对外来物的害怕、恐惧、排斥或者狂热的追捧、盲目的崇拜。 本文以“‘外来物’：作为一种‘异’的研究”作为结尾，强调文化交流的真意在于对差异性的关注，文学中的外来物研究正是以“异质性”为主要关注点，研究从“物质”到“精神”再到“社会心理”以致“文学思潮、社会运动”的隐形脉络，并通过对文明间“异质性”因素价值与意义相对性的彰显，展示中国与异国之间跨文明、跨语系的对话过程，为世界各文明体文化与文学特异性的合法性提供依据，从而能够使世界性诗学的生长点立于一种不竭之源。

Since Zhang Qian was sent on a diplomatic mission to the Western Regions and it truly opened up the new era for the communication between China and the west, with the development of China and foreign exchange, foreign goods from foreign lands and races have continually swarmed into the original Chinese culture, which has a profound influence on people’s life as well as the development of Chinese culture. When “foreign objects” are introduced into a country or a race, the “information objects” from the physical forms of foreign countries or foreign races gradually immerge into people’s life. Through the media of scholars, they become the objects of description in the field of literature, and with the function of writers’ mentality, spiritual state and subjective imagination in creation, they deposit and develop in the fusion of nationalities and the progress of history, further evolving into one (or several) aesthetic ideas, values or thinking patterns. From simple but practical and perceptible “objects”, with the transition of scholars’ “heart”, to the “objects” image in literary vision, this process of “developing from material to spirit” often involves issues in relevant fields of anthropology, ethnology and history, so it is of many aspects worth exploration. This research just takes the foreign objects in Chinese Literature as research objects, and it mainly focuses on investigating the description cases of objects from foreign country (or foreign races) in Chinese Literature before modern China, as well as exploring the significance of cultural fusion, all-embracing and cultural variation born underlying the writing of objects in Chinese Language and Literature. This article is divided into the following chapters: chapter introduction mainly refers to research objects, the definition of research scope, research situation, literature review, research methods and research significance. The author firstly defines the conceptual categories such as “Chinese” and “foreign” as well as “objects” and “heart”, then explains the three connotations of “the foreign objects” referred to in the article, and illustrates the specific foreign objects focused on in this research. What’s more, while analyzing and showing the previous studies and problems to be solved on this issue, the author also describes the research method, research thought and research emphasis of the article. Certainly, the research significance and value is also included in this chapter. In chapter 1, the author puts the research emphasis on the description of foreign objects in the literature before Sui Dynasty, which is divided into three historical periods——the times before Western Han and Eastern Han Dynasties, Western Han and Eastern Han Dynasties, the Three Kingdoms, Wei, Jin, Northern and Southern Dynasties, and the author respectively analyzes and explains the introduction of foreign objects during this period. Based on historical materials, the author analyzes the literary works in this period and illustrates the description characteristics presented in those works. Before Western Han and Eastern Han Dynasties, the description of foreign objects was scattered without scale, and scholars mostly described foreign objects based on their imagination; during the Western Han and Eastern Han Dynasties, to be exact, since Emperor Wu, the forms of foreign objects had started to emerge systematically, during which time foreign objects mainly appeared in the literary form of “ode”. During the Three Kingdoms, Wei, Jin, Northern and Southern Dynasties, as a result of unstable political situation, repeated wars and the accelerating national fusion, this period became the first peak for the swarming of foreign objects. And correspondent manifestations also appeared in literary creation. Those imported items undoubtedly expanded the scope of the men of letters in Han and Wei periods. Moreover, they aroused the germination and enhancement of the “exotic” flavor in the literature of that time. Meanwhile, they also exerted some influence on the style of the literature. After the Indian Buddhist culture/civilization was imported into China, the literature in Wei and Jin Periods and the Northern and Southern Dynasties witnessed variability, showed more dynamism and reached its peak of prosperity. In chapter 2, the research emphasis is on the description of foreign objects in the literature of Sui and Tang Dynasties. While using historical materials to illustrate the foreign objects introduced to China in Sui and Tang Dynasties, the author also respectively explains the description of foreign objects in literary forms like poetry, essay and tale of Tang Dynasties. Besides, the author also has a deep discussion on the relation between frontier fortress poetry creation and foreign objects, foreign objects in Li He’s poems, and the description of foreign objects in works such as YawYang Essays and Duyang Literary Sketches Collection. The author believes the causes of the large-scale description of foreign objects in the literature of Tang Dynasty are as follows. Firstly, because of the prosperity and development of Chinese and foreign cultural exchange, in Sui and Tang Dynasties, a large batch of foreign objects appeared in the view of common people, and as a result, scholars were more accessible to foreign objects; secondly, the leap of the number of scholars led to the increase of literary works; thirdly, the popularity of specific literary forms like frontier fortress poetry promoted scholars’ special attention to foreign objects. In chapter 3, the author’s research perspective lies in the description of foreign objects during Song and Yuan Dynasties. By convention, according to relevant materials in Chinese and foreign traffic history, the author explores the basic types of how foreign objects spread to China in this period. Meanwhile, the author investigates the description of foreign objects in Song Poems, literary sketches of Song Dynasty, Yuan verse, and natural literary sketches of Yuan Dynasty, and then the author also conducts analysis and remarks on the description characteristics of foreign objects in different literary forms. Poets of Song Dynasty generally didn’t break the presentation types of the literature of Tang Dynasty on the description of foreign objects, but they paid much more attention to foreign perfumes than other foreign objects; because of Wang Dayuan’s experience of concerning foreign affairs of Yuan Dynasty, his work Records of a Foreign Island needs our special attention. The study also focuses on the render states of the exotic items in the Yuan Verse. In chapter 4, the author’s research perspective lies in the description of foreign objects during Ming and Qing Dynasties. Compared with the foreign objects in previous dynasties, the foreign objects introduced to China in this period showed more advantages in technology and processing skills. Because of the large-scale emergence of note-style historical works in Yuan Dynasty, the description of foreign objects in the literature of Ming Dynasty became increasingly large-scale. The most outstanding feature was that in Ming Dynasty, “foreign” novels specializing in describing overseas western world appeared in Ming Dynasty. What’s more, the large amounts of natural science novels in Ming Dynasty are also very important materials for this research. the men of letters in Ming Dynasty depicted the western cloth, striking clock, Frankish and guns, which contributed a new feature for presenting imported items. In the case study, Tang Xianzu was selected; for he had been closely acquainted with foreign missionaries and had visited such coastal areas as Guangzhou and Qiongzhou personally. The depiction on the imported items in his poems and dramas has been deeply explored. The study regarded the Pidgin One Hundred and Ten Poems on Bamboo written by You Tong as a representative and took the pervasive and controversial “tobacco” as an example to discuss the depiction on imported items in the Qing Dynasty. Meanwhile, the study also presented and analyzed the depiction of imported items in the novels such as The Twelve Towers, A Dream of Red Mansions, The After-years of Water Margin，Zhaoshi Cup,Flowers in the Mirror, Gold-embroidered Robe and Plant Spring and Autumn Romance . In chapter 5，the author’s research perspective lies in the description of foreign objects during Late Qing Dynasties. The paper relies on the study for cross-civilization in comparative literature, and tires to explore the change in the idea for from “foreign country” to “exotic country”. They depicted the strong ships and high-tech weapons which brought changes to the society and the ideology in China, and presented Occidental items such as electricity and novel techniques that influenced the daily and penetrate into the details of life. The paper traces back the appearance of Occidental items in the novel for the late Qing Dynasty, and focuses on the essentiality of material. In this sense, it can present that the whole society firstly rejected, amazed, and then accepted the West. Gradually, they felt alert, and finally, they learnt from the west and absorbed all. The history claries that Occidental items such as western guns and firearms not only accelerate the process for modernization in Chinese history, but also bring the revolution from material, and then spirit, finally “movement.” Acting as the independent role in the Chinese culture, Occident object gives a new lease of life to the novels of the late Qing Dynasty . In chapter 6, the author makes a comparative study on the description of foreign objects in two special periods——late Tang Dynasty and Late Qing Dynasty, when foreign culture was mixed with Chinese culture. Though the time limit of these two periods was the same, their attitudes towards western culture were quite different. From the angle of describing foreign objects in literary works, in novels of late Tang Dynasty, those writers tended to “rareness”, “surprise” and “difference” in describing foreign objects, and based on their subjective imagination, the writers endowed foreign objects with divinity and exceptional function beyond human and natural power. From their attitude towards acceptance, they showed more fresh and curious mentality rather than envy, fear or rejection; while novels of late Qing Dynasty showed more of people’s fear, rejection or crazy pursuit and idolization towards foreign objects. This article ends up with “Foreign Objects: A study on ‘Difference’”. The conclusion part stresses the spirit of cultural exchange lies in the focus on difference. The study of foreign objects in literature just takes “heterogeneity” ad the major focus, and explores the invisible vein from “material” to “spirit”, then to “social mentality” and even “literature ideological trend, social movement”. Besides, by manifesting the relativity of the value and significance of “heterogeneity” among different cultures, it shows us the cross-cultural and cross-language communication process between China and the other countries. In this way, it can provide the basis for the validity of “heterogeneity” of culture and literature in different civilizations, thus making the growing point of the world’s poetics based on an inexhaustible source.