摘要
梅花是中国古代咏物文学中最常见的题材之一,但学界对梅花赋体的研究一直相对零散。从南朝至清,梅花赋吟咏的范围逐渐扩大,各种创作的方式方法日趋完备、丰富,并经历了由纯咏物到有所寄托、格式由简而繁以至模式化的演变轨迹。作为咏梅文学的重要分支,对其进行梳理研究,既可以在一定程度上总结咏物尤其是咏花赋体的创作模式,亦可以窥见各个时期审美风尚的演变,因而具有重要意义。
Plum flower is one of the most common themes in ancient Chinese chanting literature, however, research on Meihua Fu has been scattering. From the Nan Dynasties to the Qing Dynasty, the chanting scope of Meihua Fu has gradually expanded. The cre- ation ways have become more accomplished and abundant. Moreover, its evolution experienced, on one hand, in terms of content from pure chanting to sustenance, and on the other hand, in terms of style from simplicity to complexity. As an important branch of chanting plum literature, Meihua Fu is of its own significance, as it can either summarize the pattern of Yonghua Fu to certain ex- tent, or it can get a glimpse of the evolution of aesthetic fashion in every period.
出处
《中国文学研究》
CSSCI
北大核心
2013年第4期59-63,共5页
Research of Chinese Literature
关键词
梅花赋
创作模式
流变
写意符号
Meihua Fu
writing style
evolution
freehand symbols
作者简介
王婧之（1981-），女，湖南长沙人，湖南师范大学文学院博士生，编辑，主要研究方向为中国古代文学与文化。
