从《山居赋》看六朝山水赋的两种范式  

Two Paradigms of Landscape Fu in the Six Dynasties from the Perspective of Shanju Fu

作　　者：王希圣 WANG Xisheng(Nanjing University,Nanjing 210023,China)

机构地区：[1]南京大学文学院,江苏南京210023

出　　处：《天中学刊》2020年第2期66-73,共8页Journal of Tianzhong

基　　金：2017年度国家社科基金重大项目(17ZDA249)。

摘　　要：六朝时期,山水赋蓬勃发展,并在一种题材中分化形成了两种范式。一种继承了汉大赋的传统,笔者称之为“博辩穷形派”;另一种呈现了六朝赋体新兴的诗化倾向,笔者称之为“兴会即景派”。谢灵运作为山水文学大家正处于两派并峙的节点,其名作《山居赋》兼采两派的创作手法,从而呈现出文本风格上的双重特征,而这种双重特征无疑揭示了六朝赋坛山水书写两派并行的文学景观。During the Six Dynasties(222–589),landscape Fu flourished and formed two paradigms in one theme.One inherited the tradition of Great Fu in Han Dynasty which the author called“the school of rich debate and poor form”and the other presented the new poetic tendency of the Six Dynasties Fu style which the author called“the school of rich debate and form”.XIE Lingyun,as a great master of landscape literature,is in the joint of two schools.His famous work“Shanju Fu”fully reflects the literary background of the two schools of landscape Fu in the Six Dynasties.This Fu adopts the creative techniques of both schools,showing dual style characteristics.

关 键 词：《山居赋》 六朝 山水 范式 

分 类 号：I206[文学—中国文学]