论李白辞赋的“祖骚宗汉”倾向  

The Trending of Modeling CH'U TZ'U and Han Fues in Li Po's Rhapsodies

作　　者：何易展[1,2] 

机构地区：[1]西南大学文学院 [2]四川文理学院巴文化研究院

出　　处：《社会科学》2015年第5期183-191,共9页Journal of Social Sciences

基　　金：中国博士后科学基金资助项目"清代汉赋学研究"(项目编号:2014M552293);国家社科基金重大项目;四川省重大文化工程<巴蜀全书>(项目编号:10@ZH005);2015年度子项目<巴蜀辞赋集成>(项目编号:BSQS2015Y02)的阶段性成果

摘　　要：李白辞赋今存八篇。受当时赋风、时风及李白个性气质的影响,其赋作具有较强的个性抒情特色。其赋不但鉴借楚骚之精神,亦兼承楚骚汉赋的艺术表现方式,如在句式、章法、用典、使事等方面,皆"祖骚而宗汉"。虽元代祝尧称其辞赋"终六朝赋耳",然细析其因承袭变,加之儒道的精神契合,其辞赋在拟古的基础上实不同于六朝,在"以赋体道"方式上亦异于后世,其赋作可谓具有独特的思想与艺术内涵,同时对研究辞赋从楚辞、汉赋到律赋的演变及对经、史文化的接受具有重要价值。Until now Li Po has 8 pieces of rhapsodies. On account of the influence of the time and the vogue for Fues creating at that time, additionally Li Po＇s individuality, his rhapsodies were provided with quite strong individual and emotional characteristic. His rhapsodies not only imbibe the spirit of Ch＇u Tz＇u, but also use the art style of Ch＇u Tz＇u and Han Fues for reference, such as using patterns of sentence, art of composition, literary quotations and so on by modeling Ch＇u Tz＇u and Han Fues. Although Zhu thought his arts should be parallel fues in Liu dynasties, analyzing the following and changes, and corresponding of Confucianism and Taoism, his rhapsodies which based on the archaistic style are different from the ones in six-dynasties and aftertime, possessing of unique ideology and art connotation. The view that he advocated the diction should be splendorous and meaning be rich and extend more developed the academic research on rhapsody at the base of modeling Ch＇u Tz＇u and Han Fues.

关 键 词：李白 以赋体道 祖骚宗汉 儒道精神 

分 类 号：I207.224[文学—中国文学]