【摘要】：在中國文學(xué)中,賦作為一種古老而特殊的體裁,歷經(jīng)兩漢、魏晉、南北朝,到唐代仍顯現(xiàn)出強(qiáng)勁發(fā)展的勢頭。唐賦數(shù)量眾多,種類豐富,其中之一便是書法、繪畫類的賦作,本論文以《歷代賦匯》為藍(lán)本,結(jié)合《文苑英華》《全唐賦》及《全唐文》等文獻(xiàn)資料,共整理出了25篇唐代書畫賦,擬分四章進(jìn)行詳細(xì)論述,其主要內(nèi)容如下:第一章首先對“書畫賦”進(jìn)行了概念的界定,繼而從書畫賦題材的發(fā)端,兩漢、三國兩晉及南北朝時期書畫賦的初興、發(fā)展方面簡要闡述了唐前書畫賦的發(fā)展概況,并依據(jù)書畫賦的界定標(biāo)準(zhǔn),整理出唐代現(xiàn)存書畫賦的篇目,確保做到對唐代書畫賦有清晰的了解。第二章將書畫賦分書法與繪畫兩個方面來單獨論述,結(jié)合具體賦作內(nèi)容,從文本本身出發(fā),分別概括出唐代書法賦與繪畫賦在內(nèi)容和藝術(shù)方面的特點。第三章則深入探討唐代書畫賦興盛發(fā)展的原因。主要從藝術(shù)自身、統(tǒng)治者和文化發(fā)展這三個角度入手,并分析上述因素對賦作產(chǎn)生的影響,通過分析其發(fā)展原因以全面把握其文化內(nèi)涵。第四章具體論述了唐代書畫賦的文化內(nèi)涵,主要從道家和儒家思想兩方面著手,結(jié)合具體作品把握唐代書畫賦豐富的文化內(nèi)蘊(yùn)與價值,力圖對唐書畫賦的價值作一客觀而真實地呈現(xiàn)。綜上,唐代書畫賦因其豐厚的文化內(nèi)蘊(yùn)及獨特的藝術(shù)特性,在中國辭賦發(fā)展史上留下了難以磨滅的印跡。然而在當(dāng)前學(xué)界,學(xué)者們對唐代書畫賦的研究還存在一定的空缺,故本文不揣淺陋,試圖對書畫賦的發(fā)展歷史作一宏觀把握,主要從唐代書畫賦的思想內(nèi)容、興盛原因、文化意蘊(yùn)和賦作價值幾個方面進(jìn)行研究,對唐代書畫賦在中國賦史上的地位及價值作一合理的評定,從而揭示其文化意義與賦作價值。
[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.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.22

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