时间与流水:宋代文赋书写方式及其审美观念

汉赋及其所代表的“赋者铺也”的空间铺排方式,在宋代《秋声赋》《赤壁赋》等经典文赋中变为一种按时间顺序的书写。赋论中的“列锦”之喻让位于“流水”之喻,意味着宋代文赋更注重与时间流动相对应的文脉和意脉,追求叙事、抒情、说理的畅达通透。同时,在强调工艺奇巧的修辞性的传统赋学审美观之外,宋代出现了一种自然无营、随物赋形的更为实用性的赋学审美观。这是北宋古文复兴后其“行文”而非“摛文”的审美观念渗入赋体的必然结果。
Abstract：The way of space arrangement represented by Han fu (prose style in the Han Dynasty) turned into a rhetoric of time sequence in the Song Dynasty, like that in “Qiusheng fu” and “Chibi fu”. The analogy of “liushui” (flowing water) took place of “liejin” (juxtaposition of noun phrase) indicated that the Song fu paid more attention to the unity and coherence matching along with the flowing water, and it tried to arrive at fluency and perspicuity in narration, emotion express, and argument. Meanwhile, besides the traditional aesthetics of fu which emphasized delicate skills, there appeared a kind of new aesthetics, more natural and practical, in the Song Dynasty. This was resulted from the aesthetic change brought by the classics renaissance in the Northern Song Dynasty.