论文部分内容阅读
历代牡丹赋今可见者近三十篇,唐前两篇,唐代两篇,宋代七篇,元代一篇,明代六篇,清代十篇。其类别可分为二,一是富贵牡丹赋,以高调颂赞为主,多直接铺写牡丹秾丽姿色、富贵典雅;一是清丽牡丹赋,属于抒情言志之作,多非有意为文,而是在猝然感发的机遇下铺陈叙事、借花抒情,往往能在姿色之外,睹见韵致风神、气骨品性。历时观之,盛世多颂美之声,得意多灿然之花;衰世多抒情之赋,不遇多矜持之丽。全文分作唐前“养在深闺人未识”、唐代“花开时节动京城”、宋代“牡丹尤为天下奇”、元代“唐宋精神的融合”、明代“繁华一去不可复”、清代(上)“浓艳依然带露华”、清代(下)“薄醉盈盈一回首”七个章节,对历代牡丹赋之创作予以考证、梳理,解析赋作之艺术特色,阐发作者之精神情怀,探究艺术流变之内在规律。
There are nearly 30 peony paintings in the past, two in the Tang Dynasty, two in the Tang Dynasty, seven in the Song Dynasty, one in the Yuan Dynasty, six in the Ming Dynasty and ten in the Qing Dynasty. Its category can be divided into two, one is the rich peony Fu, mainly in high profile praise, multi-direct write Peony beauty, wealth and elegance; First, Qingli Peony Fu, is composed of lyricism, , But in the sudden emotional development of narrative narrative, by the flower lyrical, often in appearance, see Yunfeng Fengshen, physical character. The concept of lasted time, the prosperity of more than the beauty of the United States, proud and more brilliant flower; decline of the world more lyrical Fu, not in favor of more than Lai. The full text is divided into Tang before “raising in the boudoir did not know ”, the Tang Dynasty “blooming season moving capital”, the Song Dynasty “peony is especially the world ”, Yuan Dynasty The Ming Dynasty “Prosperous one can not be complex”, the Qing Dynasty (on) “thick still with dew ”, the Qing Dynasty (below) “drunk Yingying a look back ” seven chapters, To research, comb, analyze the artistic characteristics of Fu, analyze the author’s feelings and feelings, to explore the inherent laws of the evolution of art.