古琴入诗与汉代诗、赋创作  

The Integration of the Guqin into Poetry and the Creation of Poems and Fu in the Han Dynasty

作　　者：王娜[1] Wang Na(School of Humanities,Beijing Sport University,Beijing,China)

机构地区：[1]北京体育大学人文学院,北京100084

出　　处：《社会科学论坛》2024年第5期85-93,共9页Tribune of Social Sciences

基　　金：国家社会科学基金一般项目《汉晋琴学文献生成研究》阶段性成果,项目编号:19BZW057。

摘　　要：乐器作为一种题材,自汉代开始进入文学视野。古琴在汉代成为楚声楚歌的主导乐器,“援琴而歌”成为汉代诗赋中的固定意象。古琴在文人心中的地位及其所承载的文化意义,使其在汉代文学中成为某种符号化的象征,对汉代诗体、诗歌抒情方式及乐器赋与“七体”赋叙写模式均产生了深远影响。Musical instruments,as a subject,entered the literary vision from the Han dynasty.Guqin became the dominant instrument in the Songs of Chu during the Han dynasty,and“Singing with Guqin”became a fixed image in the poems and fu of Han dynasty.The status of Guqin in the hearts of literati and the cultural significance made it some kind of symbolic symbol in the literature of Han dynasty,which had a profound influence on the style and mode of poetry in Han dynasty and the narrative mode of musical instruments fu and“seven forms”fu writing model.

关 键 词：乐器 古琴 汉代诗歌 汉赋 影响 

分 类 号：I206.2[文学—中国文学]