摘要
在赋论史上,唐赋有"中衰"之说,这源自后世以古赋为评价标准、以律赋代表唐赋以及以诗歌掩盖辞赋的误解,然观其整体发展,则具有超越魏晋而上承汉代的帝国气象与风采。唐人赋学思想以"美"与"刺"为中心,其内涵丰富,包括统一经学与《诗》之"六义"的经典化、对《文选》的崇尚及唐代类书与赋学的关联。由科举试赋而呈示出的有关古赋与律赋的讨论,尤其是经义观与技术论,体现了唐帝国图式中兼臻赋用与赋法的理论思想,这也是围绕唐赋创作之批评总"八朝众轨"而启"三代支流"(借用王芑孙语)的价值与意义。
In the historical discussion of fu theory, the argument of 'the decline of fu in the Tang Dynasty' results actually from the practice that later generations mistook ancientfuas evaluation criteria, regarding ruledfuas the representative fu in the Tang Dynasty and confusing fu with rhymedverses. However, the history of fu may well be extended back through the Wei-Jin period to the Han Dynasty to inherit its imperial genre. The theory of Tangfu, centering on 'beauty' and'thorn', is rich in connotations, including the unification of classics, canonization ofliuyi(sixarts) andWen Xuan, and relationship between the encyclopedias and fu in the Tang Dynasty.The discussion of ancient fu and ruledfu, especially the moral view of jingyi(righteousness) andpractical view of skills, embodies the theoretical thoughts on the composition of fu and rules of fu in the Tang imperial schema, thus revealing the value and significance of criticisms of Tang fu writing.
出处
《南京大学学报（哲学．人文科学．社会科学）》
CSSCI
北大核心
2017年第1期117-133,共17页
Journal of Nanjing University(Philosophy,Humanities and Social Sciences)
基金
国家社会科学基金重点项目"辞赋与图像关系研究"(16AZW008)
