乾隆帝《哨鹿》三赋的书写及同题赋的生成  

The Composition of Emperor Qianlong’s Three Fu Works on Deer-hunting and the Creation of Fu Pieces of the Same Theme

作　　者：黄笑 HUANG Xiao(Advanced Institute for Confucian Studies,Shandong University,Jinan,Shandong 250199,China)

机构地区：[1]山东大学儒学高等研究院,山东济南250199

出　　处：《河北北方学院学报(社会科学版)》2024年第6期1-5,共5页Journal of Hebei North University:Social Science Edition

摘　　要：乾隆帝《哨鹿赋》《后哨鹿赋》和《斗鹿赋》是清代蒐狩赋中的典型赋作,不仅铺叙了哨鹿活动的盛大场景,也展现出清王朝肄武诘戎的核心追求。3赋由儒教、禅境至事理的嬗变过程体现了帝王心态的转变与其赋风的醇熟。而宗室子弟、文臣同题赋与序跋的创作,犹可见以清代帝王为核心的文人圈层形成了自发的文化心理结构与创作拥从趋势,这为帝王选才与得才提供了有利契机,也对清代赋体叙述的文学生态圈层的形成产生了一定影响。Emperor Qianlong’s three fu works--Deer-hunting Fu,Post Deer-hunting Fu,and Deer-fighting Fu are the representatives of the hunting-themed fu genre of the Qing Dynasty.These works not only elaborate on the grand spectacle of deer-hunting activities but also manifest the core pursuit of martial preparedness and military drills in the Qing Dynasty.The evolution from Confucian ideals,through Zen-inspired contemplation,to pragmatic governance reflected in these three works demonstrates the transformation of the Emperor’s mindset and the maturation of his fu style.The creation of fu pieces of the same theme and prefaces and postscripts by imperial clan members and court officials reveals the spontaneous cultural-psychological structure and creative conformity trends formed within the literati circles centered around the Qing Emperors.This phenomenon provided favorable opportunities for the Emperor to select and acquire talents,and exerted certain influences on the literary ecosystem of fu narrative in the Qing Dynasty.

关 键 词：同题赋 哨鹿赋 后哨鹿赋 斗鹿赋 序跋 理趣 

分 类 号：I207.22[文学—中国文学]