建安七体的发展  

Evolution of the Seven Style of Jian’an Period

作　　者：马黎丽 MA Lili(School of Literature and Media,Xingyi Normal University for Nationalities,Xingyi,China 562400)

机构地区：[1]兴义民族师范学院文学与传媒学院,贵州兴义562400

出　　处：《温州大学学报（社会科学版）》2022年第3期72-80,共9页Journal of Wenzhou University：Social Science Edition

基　　金：国家社会科学基金西部项目(13XZW009)。

摘　　要：建安七体较汉代七体,在知识与文采方面均有丰富和超越。王粲《七释》与曹植《七启》在名物的种类和相关知识方面予以拓展,引入歌舞表演等新的题材因素,展现出建安赋家的博物修养。王粲《七释》思想观点和说理论证的技巧较汉代七体有较大发展。曹植《七启》注重文学趣味的营造和表现,赋名物以美感和趣味,运用具有神话色彩的想象和意象,展现出较高的文学性。建安七体较汉代七体的发展,是赋家之政治追求及博物风气与文学表达手段进一步发展的结果。The Seven Style of Jian’an period enriched and transcended the Seven Style of the Han Dynasty in the aspects of knowledge, literariness and insight. Qi Shi of Wang Can and Qi Qi of Cao Zhi had extended the categories and related knowledge of written objects and introduced new factors of themes such as song and dance performances, reflecting the erudite knowledge of fu(descriptive prose interspersed with verse) writers of Jian’an period. Qi Shi of Wang Can, which had rigorous interpretation of ideas, was more developed than the Seven Style of the Han Dynasty in terms of the ideas and skills of argumentation, while Qi Qi of Cao Zhi focused on the formation and expression of literary enjoyment, enhancing the aesthetic beauty and delight to the written objects and constructing literacy abundantly with mythical imaginations and images. Compared with the Seven Style of the Han Dynasty, the development of the Seven Style of Jian’an period is the result of the political pursuit and the further development of the knowledge atmosphere and literary expression.

关 键 词：建安 七体 《七释》 《七启》 

分 类 号：I207.22[文学—中国文学]