發(fā)布時間：2018-05-24 09:42

  本文選題：贊體文 + 人物贊��； 參考：《廣西大學》2017年碩士論文

【摘要】：贊體文為我國古代的一種實用性文體,在文體、文學、文化方面有重要價值�，F(xiàn)當代研究已經(jīng)取得了部分成果,主要集中在贊體內(nèi)涵的辨析和畫贊的研究,但仍缺乏對贊文的整體把握和深入探究。筆者采用橫向與縱向相結合、宏觀與微觀相統(tǒng)一的方法,力求對漢魏兩晉贊文有一個較為全面而深入的認識。筆者在第一章通過對現(xiàn)存相關文獻的梳理,認為“贊”最早為“佐”“助”“明”之義,它起源于祭祀等儀式上的導引唱拜之辭或宴會中主客雙方應答等禮儀形式的贊辭。但至漢代,“贊”才始有文體意義。筆者從人物贊、詠物贊、佛贊、雜贊及畫贊五個方面來研究漢魏晉贊文。第二章將贊人物之文放在一起,從五個層面來看此期人物贊及人物畫贊的風貌。指出道仙隱逸贊與僧人贊在一般帝王贊、圣賢名臣贊稱美人物德行之外,別具特色,顯得飄逸、自由。而這兩類贊的興盛與玄學的影響及佛教的傳入息息相關。第三章從時代背景、地域關系及士人心態(tài)三方面論及漢魏兩晉詠物贊興盛之成因,并從動植物贊、自然山水贊、生活器物與祥瑞贊四方面研究此期詠物贊的特點,指出詠物贊不僅僅是稱美客觀事物,而是將客觀存在的物象變成作者寄托情感、志趣的意像。第四章論及佛教的“梵唄”“偈語”與贊文之關系,指出佛唄全為稱美的特點對我們贊文由兼褒貶到贊美之義的影響,對我們贊文聲律及序贊體形式的影響。并以支遁佛贊、菩薩贊為重點,分析佛贊給予我們贊文內(nèi)容及形式的新變。第五章從三個方面論及漢魏晉畫贊發(fā)展及繁榮的原因,以郭璞圖贊作品為重點,論述了其圖贊異于人物畫像贊的奇怪、浪漫特色。并探究了畫贊及題畫詩的關系,指出畫贊與題畫詩既有聯(lián)系,又有區(qū)別,二者是題畫文學發(fā)展的兩階段,不能完全等同。第六章從體制、語言及表現(xiàn)手法著手,指出贊文篇幅短小、言簡意賅,語言典雅清麗,善用典故、寓理于中的藝術特色。
[Abstract]:Zan style is a practical style in ancient China, which has important value in style, literature and culture. Some achievements have been made in modern and contemporary studies, which mainly focus on the discrimination of the connotation of Zan style and the study of painting Zan, but it still lacks the overall grasp and in-depth exploration of Zan Wen. The author adopts the method of combination of horizontal and vertical, macro and micro, and tries to have a more comprehensive and in-depth understanding of the text of praise in Han, Wei and Jin dynasties. In the first chapter, by combing the existing literature, the author thinks that "like" is the earliest meaning of "Zuo" and "help" and "Ming", which originates from the ritual words of worship and worship in the ritual of sacrifice or the ceremonial forms such as the reply of both the subject and the guest in the banquet. But only in the Han Dynasty did Zan have stylistic significance. The author studies the Zan Wen of Han, Wei and Jin dynasties from five aspects: the praise of characters, the praise of chanting objects, the praise of Buddha, the praise of miscellaneous praise and the praise of painting. In the second chapter, the author puts the article together and looks at the style of this period's praise and figure painting from five aspects. It is pointed out that Taoist seclusion praise and monk praise are in addition to the general monarch praise, saints and ministers praise the beauty of the character of virtue, unique, appears elegant, free. The prosperity of these two kinds of likes is closely related to the influence of metaphysics and the introduction of Buddhism. The third chapter discusses the causes of the prosperity of the praise in the Han and Wei dynasties from three aspects: the background of the times, the regional relationship and the mentality of the scholars, and studies the characteristics of the praise in this period from the aspects of plants and animals, natural mountains and rivers, living utensils and Xiangruizan. It is pointed out that the praise of objects is not only an objective thing of beauty, but also an image of objective existence. The fourth chapter deals with the relationship between Buddhist "Brahma" and "verse", and points out the influence of the characteristics of "Buddha's total beauty" on our praises from praise to praise, and on the tone of our praise and the form of preface. It also analyzes the new changes in the content and form of Buddha's praise given to us by Buddhism and Bodhisattva. The fifth chapter discusses the reasons for the development and prosperity of painting praise in Han, Wei and Jin dynasties from three aspects, and discusses the strange and romantic features of Guo Pu's works. It also probes into the relationship between painting praise and painting poem, and points out that painting praise and painting poem are not only related but also different, they are two stages of the development of painting literature, and can not be completely equivalent. The sixth chapter starts from the system, the language and the expression technique, points out that the Zan article is short in length, concise, elegant and beautiful in language, good at allusion, and the artistic characteristic of putting theory to the middle.
【學位授予單位】：廣西大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I206.2

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本文編號：1928584