汉人的“风水”观念与汉赋的文学表现  

The Ideas about Geomantic Omen and Its Literary Represent in the Rhymed Fu Prose in the Han Dynasty

作　　者：姚圣良[1] 

机构地区：[1]信阳师范学院文学院淮河文明研究中心,河南信阳464000

出　　处：《学术研究》2016年第10期170-176,共7页Academic Research

基　　金：2014年度国家社科基金一般项目“先秦两汉民间信仰与文学研究”(14BZW042)的阶段性成果

摘　　要：两汉时期尚未出现"风水"之名,"堪舆"亦非用以指代风水,但实际上宫宅与墓地风水信仰皆已开始盛行于世。汉赋的宫宅风水描写,主要体现在以京都、宫苑为题材的作品中。张衡的《冢赋》,则集中反映了汉人的墓地风水观念。汉代的风水信仰,是形成汉赋题材内容及意蕴表现不容忽视的重要因素之一。考察汉人风水观念对汉赋创作的影响,会让我们对汉赋的认知变得更为全面,也更加符合实际。The name of Geomantic Omen(Fengshui) was not appeared and Kanyu also was not referred to Fengshui in the Han dynasty. In fact, the belief on Fengshui concerning residence and tomb had begun to prevail at that time. The depiction of Fengshui about residence in the rhymed Fu prose was manifested in the works which were related to the capital and palace garden. The thought on Fengshui about tomb in the Han dynasty was centrally refl ected by Zhang Heng's ‘Zhong Fu'. The belief on Fengshui in the Han dynasty was an important element of subject matter and implication expression of the Fu prose. The investigation of the infl uence on the Fu prose by the ideas of Fengshui in the Han dynasty will make us understand the Fu prose more comprehensively and actually.

关 键 词：汉代 风水 汉赋 文学表现 

分 类 号：I206.2[文学—中国文学]