摘要
清代书写“江南”的赋作较之前代数量众多,其中《江南春赋》《杏花春雨江南赋》创作数量之丰与时间之长尤为引人注目。与诗词中“江南”指代的模糊性相比,清代赋中的“江南”有明确的指向性,其区域与历史学家从地理疆域、社会经济角度划分的“江南”既有重合又有不同。清代江南赋书写了以杏花春雨为主要审美对象的自然之景及以金陵为中心的六朝文化,在对历史的追忆与唤起中流露出感伤的情感基调,呈现了一个辞赋书写中的“文学江南”。
Jiangnan Fu in Qing Dynasty has a clear direction,its region and historian's division of“Jiangnan”from the perspective of geography,social economy are both overlapped and different.In the Qing Dynasty,Jiangnan Fu described the natural scenery with apricot blossom spring rain as the main aesthetic object,and the Six Dynasties culture centering on Jinling.In the recollection and evocation of history,a sentimental emotional tone presenting a Ci Fu“Literature south of the Yangtze River”was shown in writing.
作者
郭薇
GUO Wei(School of Liberal Arts,Nanjing University,Nanjing 210023,China)
出处
《北京社会科学》
CSSCI
北大核心
2020年第7期63-76,共14页
Social Sciences of Beijing
关键词
清代
江南书写
审美
观照
《江南春赋》
《杏花春雨江南赋》
Qing Dynasty
Jiangnan writing
aesthetic contemplation
Imperial Academicians
Jiangnan Spring Fu
Apricot flower spring rain Jiangnan Fu
