唐代书画赋研究

发布时间：2018-10-05 12:00

【摘要】：在中国文学中,赋作为一种古老而特殊的体裁,历经两汉、魏晋、南北朝,到唐代仍显现出强劲发展的势头。唐赋数量众多,种类丰富,其中之一便是书法、绘画类的赋作,本论文以《历代赋汇》为蓝本,结合《文苑英华》《全唐赋》及《全唐文》等文献资料,共整理出了25篇唐代书画赋,拟分四章进行详细论述,其主要内容如下:第一章首先对“书画赋”进行了概念的界定,继而从书画赋题材的发端,两汉、三国两晋及南北朝时期书画赋的初兴、发展方面简要阐述了唐前书画赋的发展概况,并依据书画赋的界定标准,整理出唐代现存书画赋的篇目,确保做到对唐代书画赋有清晰的了解。第二章将书画赋分书法与绘画两个方面来单独论述,结合具体赋作内容,从文本本身出发,分别概括出唐代书法赋与绘画赋在内容和艺术方面的特点。第三章则深入探讨唐代书画赋兴盛发展的原因。主要从艺术自身、统治者和文化发展这三个角度入手,并分析上述因素对赋作产生的影响,通过分析其发展原因以全面把握其文化内涵。第四章具体论述了唐代书画赋的文化内涵,主要从道家和儒家思想两方面着手,结合具体作品把握唐代书画赋丰富的文化内蕴与价值,力图对唐书画赋的价值作一客观而真实地呈现。综上,唐代书画赋因其丰厚的文化内蕴及独特的艺术特性,在中国辞赋发展史上留下了难以磨灭的印迹。然而在当前学界,学者们对唐代书画赋的研究还存在一定的空缺,故本文不揣浅陋,试图对书画赋的发展历史作一宏观把握,主要从唐代书画赋的思想内容、兴盛原因、文化意蕴和赋作价值几个方面进行研究,对唐代书画赋在中国赋史上的地位及价值作一合理的评定,从而揭示其文化意义与赋作价值。
[Abstract]:In Chinese literature, Fu as an ancient and special genre, after the Han Dynasty, Wei Jin, Southern and Northern dynasties, until the Tang Dynasty still showed a strong momentum of development. There are many kinds of Fu in Tang Dynasty, one of which is calligraphy and painting. This paper is based on the collection of Fu of the past dynasties, combined with the literature such as "Wenyuan Yinghua", "All-Tang Fu" and "Quan Tang text", and so on. The main contents are as follows: the first chapter defines the concept of "calligraphy and painting Fu", and then from the beginning of calligraphy and painting Fu theme, the Han Dynasty. The first rise of calligraphy and painting Fu in the three Kingdoms and the Southern and Northern dynasties, the development of the calligraphy and painting Fu before the Tang Dynasty was briefly expounded, and according to the definition standard of the calligraphy and painting Fu, the existing calligraphy and painting Fu of the Tang Dynasty was sorted out. Make sure to have a clear understanding of the painting and calligraphy of the Tang Dynasty. The second chapter points calligraphy and painting Fu calligraphy and painting to discuss separately, combined with specific Fu as the content, from the text itself, respectively summarized the Tang Dynasty calligraphy Fu and painting in the content and art characteristics. The third chapter discusses the reasons for the prosperity and development of calligraphy and painting Fu in Tang Dynasty. It mainly starts from the three angles of art itself, ruler and cultural development, and analyzes the influence of the above factors on Fu, through analyzing the reasons of its development to grasp its cultural connotation in an all-round way. The fourth chapter discusses the cultural connotation of calligraphy and painting Fu in Tang Dynasty, mainly from two aspects of Taoism and Confucianism, combined with concrete works to grasp the rich cultural connotation and value of calligraphy and painting Fu in Tang Dynasty. Trying to make an objective and true presentation of the value of painting and calligraphy Fu in Tang Dynasty. In summary, the calligraphy and painting Fu of Tang Dynasty left an indelible imprint in the history of Chinese ci Fu because of its rich cultural connotation and unique artistic characteristics. However, in the current academic circles, there is still a certain vacancy in the study of calligraphy and painting Fu in Tang Dynasty, so this paper tries to make a macroscopic grasp of the development history of calligraphy and painting Fu, mainly from the ideological content of the calligraphy and painting Fu of the Tang Dynasty, and the reasons for its prosperity. This paper makes a reasonable evaluation of the position and value of painting and calligraphy Fu in the history of Chinese Fu in Tang Dynasty by studying the cultural implication and the value of Fu in order to reveal its cultural significance and Fu value.
【学位授予单位】：江西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22

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