威权之域与首善之区——两汉散体赋都邑理念的差异

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。
Abstract：The description and narrative of the capital in the poetic proses in the Han Dynasty is an artistic reproduction of the capital concept. The works of such subject were roughly presented in two tendencies: the writers that were represented by Sima Xiangru focused themselves on the emperor authority and the magnificence of Chang'an. The writers represented by Ban Gu and Zhang Heng focused themselves on the benevolent rule of the emperor and the prosperity of Luoyang. Later interpretations on the binary structure of Sima's works and the emphasis on the standpoint of euphemistic criticism and the praise of contemporary in the works of Ban Gu and Zhang Heng, played down the consciousness of authority setting-up underlying the magnificence of the capitals.