元明之际唐赋批评之演进——以“律赋非赋”与“唐无赋”为中心  

Evolution of Criticism on Fu of Tang Dynasty in Yuan and Ming Dynasties:A Perspective of Viewpoints that Rhymed Fu was not Fu and There was no Fu Works in Tang Dynasty

作　　者：姚奎 YAO Kui(School of Literature,Guizhou Normal University,Guiyang 550001,China)

机构地区：[1]贵州师范大学文学院,贵州贵阳550001

出　　处：《辽东学院学报（社会科学版）》2022年第4期1-7,共7页Journal of Liaodong University：Social Science Edition

基　　金：国家社会科学基金重大项目“历代赋论整理研究”(19ZDA249)。

摘　　要：唐赋评价实为赋学史上重大论题,唐宋讥之以“雕虫微艺”,元代驳之以“律赋非赋”,明代嗤之以“唐无赋”。元明两代唐赋批评之演进,由律转古,赋学审美导向楚辞、汉赋,是其时代背景与文化环境的反映。元代科举试古赋,文坛以古赋为宗,形成崇古轻律的赋风,陈绎曾总结为“律赋非赋”。明代以文学“复古”为导向,倡导“文必秦汉”,李梦阳由此提出“唐无赋”的创作理论,主张师法楚骚、汉赋。The evaluation of Fu in Tang Dynasty is an important topic in the history of Chinese Fu. Literati in Tang and Song dynasties regarded Fu as a “literary skill of no high order”;those in the Yuan Dynasty believed that “rhymed Fu was not Fu”;and those in the Ming Dynasty even asserted that “there was no Fu in the Tang Dynasty”. Affected by the historical background and cultural environment, aesthetics of Fu in the Yuan and Ming dynasties shifted from rhymed Fu to ancient Fu by taking Chu Ci and Han Fu as the standards. In the Yuan Dynasty, “ancient Fu” was tested in the imperial examination, and was thought as the model in the literary world. Chen Yizeng summarized that rhymed Fu was not Fu. In the Ming Dynasty, guided by the tendency towards idolizing the ancients, literati advocated that works must follow those in Qin and Han dynasties. Accordingly, Li Mengyang proposed that there is no Fu works in the Tang Dynsty and advocated taking Chu Ci and Han Fu as the models.

关 键 词：陈绎曾 李梦阳 唐无赋 律赋 古赋 

分 类 号：I207.22[文学—中国文学]