先秦著图训政传统与《天问》题画体论证  

A Study of Ti Hua Style of Tian Wen and Remonstrative Politics Tradition of Portrait in the Pre-Qin Dynasty

作　　者：张世磊[1] 廖群[1] 

机构地区：[1]山东大学文学院

出　　处：《山东大学学报（哲学社会科学版）》2017年第1期122-130,共9页Journal of Shandong University(Philosophy and Social Sciences)

基　　金：国家社科基金项目"先秦‘说体’研究"(10BZW032)

摘　　要：学界对《天问》文体的研究,多从其句式特征入手,称之为"诘问体"、"问句体"或"四言体"。其实,我们还可以从宗庙壁画与诗文创作关系角度来分析《天问》文体。在传世文献及出土资料中,就有关于西周壁画及其功能的记载,其中对春秋时期宗庙壁画的记载更多且更加明确,其目的在于训政。屈原疏放汉北,途经故都先王庙堂,观其训政壁画,感慨往昔先王兴政之用心,痛惜当下楚国之庸政,遂摅胸臆,依图而作《天问》。《天问》首开由画体生发出相关文体之先河,是题画文学的发端,由此角度可认定它为题画体。Studies on Tian wen style in educational circles are always from the syntactic featuresperspective, which is known as “Jie wen style” , ＂Asking style＂ and so on. There is no one who studies Tian Wen style from the relationship between temple murals and poetry creation. In traditional literature and unearthed material, there is the record about Western Zhou Dynasty Murals and its function. Record in the spring and Autumn Period temple murals of material is more and more clear. Its function lies in the political tutelage. Qu Yuan was banished to the north of Hart River, passing the ancient king of the temple, and watched the murals, feeling the past king xing zheng intentions and regretting for the corrupt in Chu, then wrote Tian Wen according to emotion. Tian Wen opened a precedent that picture was translated to words, which can be identified as Ti Hua Style.

关 键 词：屈原 《天问》 宗庙壁画 训政 题画体 

分 类 号：I207.22[文学—中国文学]