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两汉散体赋对于都邑的赋写,实质上是赋家基于时代诉求而产生的都邑理念的艺术再现。此类题材的赋作,大体呈现出两种倾向:以司马相如为代表的赋家以表现天子威权为主,突出西都长安的壮丽饶富;以班固、张衡为代表的赋家以表现天子德治为主,赋文打破了历史发生顺序,重新组合东汉帝王的礼制活动,或按照由内而外的德化顺序,或按照礼书所载一年四季的礼仪安排,表现永平之政,突出东都洛阳首善之区的地位。由扬雄发端的关于司马相如赋二元对立的讽谏结构的解读,以及班固、张衡赋作对于颂今、讽谏立场的强调,使其赋文中西都壮丽背后的树威意识被淡化乃至被忽略,代之以淫侈之私欲的表达。
The two Han Dynasty Fu Fu for the metropolis of the Fu write, in essence, is based on the appeals of the times Fu Duyi concept of art reproduction. The connotation of such themes generally shows two tendencies: the Fu family, represented by Sima Xiangru, mainly displays the authoritarian authority of the courtiers, and highlights the magnificence and richness of Chang’an, the capital of the west. The Fu family, represented by Ban Gu and Zhang Heng, The rule of emperor and son rule, Fu Wen broke the order of history, reorganization of the etiquette of the Eastern Han emperors, or in accordance with the order of deification from the inside out, or in accordance with rituals contained throughout the year rituals, Yongping performance Governance, highlighting the eastern capital of Luoyang, the status of the region. The interpretations of the irony and remonstrance structure initiated by Yang Xiong on Sima Xiangrufu binary opposition and the emphasis of Ban Gu and Zhang Heng on the position of Song Jin and the remonstrance of satire make the consciousness of Shu Wei in the magnificence of both China and the West be diluted and even Ignore, replaced by the expression of despicable lust.