汉魏两晋赞体文研究

发布时间：2018-05-24 09:42

本文选题：赞体文 + 人物赞　；参考：《广西大学》2017年硕士论文

【摘要】：赞体文为我国古代的一种实用性文体,在文体、文学、文化方面有重要价值。现当代研究已经取得了部分成果,主要集中在赞体内涵的辨析和画赞的研究,但仍缺乏对赞文的整体把握和深入探究。笔者采用横向与纵向相结合、宏观与微观相统一的方法,力求对汉魏两晋赞文有一个较为全面而深入的认识。笔者在第一章通过对现存相关文献的梳理,认为“赞”最早为“佐”“助”“明”之义,它起源于祭祀等仪式上的导引唱拜之辞或宴会中主客双方应答等礼仪形式的赞辞。但至汉代,“赞”才始有文体意义。笔者从人物赞、咏物赞、佛赞、杂赞及画赞五个方面来研究汉魏晋赞文。第二章将赞人物之文放在一起,从五个层面来看此期人物赞及人物画赞的风貌。指出道仙隐逸赞与僧人赞在一般帝王赞、圣贤名臣赞称美人物德行之外,别具特色,显得飘逸、自由。而这两类赞的兴盛与玄学的影响及佛教的传入息息相关。第三章从时代背景、地域关系及士人心态三方面论及汉魏两晋咏物赞兴盛之成因,并从动植物赞、自然山水赞、生活器物与祥瑞赞四方面研究此期咏物赞的特点,指出咏物赞不仅仅是称美客观事物,而是将客观存在的物象变成作者寄托情感、志趣的意像。第四章论及佛教的“梵呗”“偈语”与赞文之关系,指出佛呗全为称美的特点对我们赞文由兼褒贬到赞美之义的影响,对我们赞文声律及序赞体形式的影响。并以支遁佛赞、菩萨赞为重点,分析佛赞给予我们赞文内容及形式的新变。第五章从三个方面论及汉魏晋画赞发展及繁荣的原因,以郭璞图赞作品为重点,论述了其图赞异于人物画像赞的奇怪、浪漫特色。并探究了画赞及题画诗的关系,指出画赞与题画诗既有联系,又有区别,二者是题画文学发展的两阶段,不能完全等同。第六章从体制、语言及表现手法着手,指出赞文篇幅短小、言简意赅,语言典雅清丽,善用典故、寓理于中的艺术特色。
[Abstract]:Zan style is a practical style in ancient China, which has important value in style, literature and culture. Some achievements have been made in modern and contemporary studies, which mainly focus on the discrimination of the connotation of Zan style and the study of painting Zan, but it still lacks the overall grasp and in-depth exploration of Zan Wen. The author adopts the method of combination of horizontal and vertical, macro and micro, and tries to have a more comprehensive and in-depth understanding of the text of praise in Han, Wei and Jin dynasties. In the first chapter, by combing the existing literature, the author thinks that "like" is the earliest meaning of "Zuo" and "help" and "Ming", which originates from the ritual words of worship and worship in the ritual of sacrifice or the ceremonial forms such as the reply of both the subject and the guest in the banquet. But only in the Han Dynasty did Zan have stylistic significance. The author studies the Zan Wen of Han, Wei and Jin dynasties from five aspects: the praise of characters, the praise of chanting objects, the praise of Buddha, the praise of miscellaneous praise and the praise of painting. In the second chapter, the author puts the article together and looks at the style of this period's praise and figure painting from five aspects. It is pointed out that Taoist seclusion praise and monk praise are in addition to the general monarch praise, saints and ministers praise the beauty of the character of virtue, unique, appears elegant, free. The prosperity of these two kinds of likes is closely related to the influence of metaphysics and the introduction of Buddhism. The third chapter discusses the causes of the prosperity of the praise in the Han and Wei dynasties from three aspects: the background of the times, the regional relationship and the mentality of the scholars, and studies the characteristics of the praise in this period from the aspects of plants and animals, natural mountains and rivers, living utensils and Xiangruizan. It is pointed out that the praise of objects is not only an objective thing of beauty, but also an image of objective existence. The fourth chapter deals with the relationship between Buddhist "Brahma" and "verse", and points out the influence of the characteristics of "Buddha's total beauty" on our praises from praise to praise, and on the tone of our praise and the form of preface. It also analyzes the new changes in the content and form of Buddha's praise given to us by Buddhism and Bodhisattva. The fifth chapter discusses the reasons for the development and prosperity of painting praise in Han, Wei and Jin dynasties from three aspects, and discusses the strange and romantic features of Guo Pu's works. It also probes into the relationship between painting praise and painting poem, and points out that painting praise and painting poem are not only related but also different, they are two stages of the development of painting literature, and can not be completely equivalent. The sixth chapter starts from the system, the language and the expression technique, points out that the Zan article is short in length, concise, elegant and beautiful in language, good at allusion, and the artistic characteristic of putting theory to the middle.
【学位授予单位】：广西大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I206.2

【参考文献】