屈宋作品的山水审美取向及其对汉赋的影响  

The Form of Landscape in Qu Yuan and Song Yu's Works and its Affect on the Prose of Han Dynasty

作　　者：侯文学[1] 

机构地区：[1]吉林大学文学院,吉林长春130012

出　　处：《华南师范大学学报（社会科学版）》2012年第5期82-88,164,共7页Journal of South China Normal University：Social Science Edition

摘　　要：《诗经》对于山水,侧重观照其高大与盛满,情感体验以积极为主。在屈原这里,流放地的险山既是恶劣的生存环境,又是政治的隔绝因素;作为楚族灵魂家园的水域,也只能是诗人生命终结后的灵魂归宿,而非现实政治失意后心灵伤痛的有效疗养之域。屈原作品的山水情态直接影响了汉代楚辞体作品。宋玉的《高唐赋》最先将战国楚地以悲为美的审美取向落实于山水题材作品,正面审视山的险怪、水的迅疾之美。宋玉《高唐赋》对于山水的观照角度与态度,直接影响了汉代散体赋的山水审美取向。In the Book of Songs,the landscape was depicted as tall and grand.The emotional experience was positive.In Qu Yuan's exile place,the forbidding mountain was not only a perilous living environment but also a political isolation condition.The water area became the poet's destination of the soul instead of the nursing home for heart pain.The landscape in Qu Yuan's works directly affected the writing style of Songs of the South of Han dynasty.Song Yu's Gaotang Fu appreciated perilous strange mountains and swift water.Song Yu's works affected prose Fu of Han dynasty.

关 键 词：《诗经》 屈宋 山水审美 汉代辞赋 

分 类 号：I206.2[文学—中国文学]