【作者】 郑伟；

【导师】 李剑锋；

【作者基本信息】 山东大学 ， 中国古代文学， 2009， 硕士

【摘要】 本文主要选取了“接受研究”的视角,以“唐前”为时段界定,重点探讨了六朝时期对嵇康文学和艺术的接受状况,由此为进一步理解嵇康的人格和文艺创作开拓了一些新的思路。本文“前言”部分对“接受美学”和古典文学领域的“接受研究”现状作了一些思考。第一章探讨了嵇康形象在六朝时期的“仙化”与“神化”问题。嵇康的神仙信仰和他的采药服食活动以及游仙诗创作,《高士传》中“高士”与“仙人”的微妙关系,以及有关嵇康“仙骨”和“尸解”的传说,共同造成了其形象的“仙化”,这是嵇康自身的“神仙活动”和道教徒依托附会相结合的产物。而嵇康形象的“神化”,则主要源于小说家笔下的形象重塑(刚正之气和与鬼神通灵),以及他自身品性、才艺与灵性所引发的后人崇拜。第二章探讨了晋唐时期对嵇康“受”与“拒”两方面的接受状况,即对《与山巨源绝交书》的接纳和对“嵇康养生被杀戮”的排斥。《绝交书》因特出于汉魏六朝“论绝交”的文学线索之外,而散发出与众不同的艺术魅力。《绝交书》对后世的最大影响是嵇康之懒。《绝交书》中有一段平生志向的自我陈述,体现了嵇康的人间情怀,对后世产生了隐微的影响。钟会的“庭论”引发了后人对嵇康何以“凶终”的种种评议,晋唐时期对嵇康“凶终”不留情面的贬刺,多是出自儒者之口。在玄学与文学方面也有针对嵇康的隐微批评,似是而非,并非严格意义上的“批评”。第三章以谢灵运《临终诗》“嵇公”条注文商榷为引论,论述了嵇康与六朝临终文艺现象之关系。通过文意连贯性、人名惯称以及版本异文等方面的考察,笔者认为,谢诗中的“嵇公”本指嵇康,而不是嵇绍。六朝时期文人遭受迫害的人生经历对他们的精神世界造成巨大的冲击。嵇康临终之际“顾日影而弹琴”一事,对六朝临终文学产生了难以估量的影响。《广陵散》与嵇康结下了不解之缘,“《广陵散》绝”在六朝时期已经演化为技艺失传的代称。嵇康陷狱时产生了典型的“名士效应”,洛阳“东市”在六朝人的心目中留下了悲情的印象。嵇康临刑之际完成了悲情命运的自我超越,然而六朝的士人无法超越这种刻骨的悲情。嵇康死后不断地受到后人的吊慰。嵇康其人兴趣广泛,博才多艺,后人对他的接受也涉及到纷繁复杂的多个方面。本文第四章选取了“草木情缘”(合欢·青松·竹林·盛柳·桃树)这样一个角度来撰写,试图运用一条尽量清晰有效的线索勾勒出唐前嵇康接受史的概貌。嵇康生前为众多草木留下了特有的审美意味,并且不断地为后世的读者回味并演绎着。嵇康能书会画,尤其是其草书,后世评价很高。从接受史的角度来看,后人著录的嵇康的书画很有问题。本文第五章经考证得出结论:《狮子击象图》作者为宗炳的可能性最大,而嵇康的可能性最小。嵇康和他的诗文见于历来的书画作品中,嵇康的诗文也广为书法家所抄录。六朝时期写入画图的嵇康诗主要是《秀才诗十九首》等四言诗。书画中的嵇康展现了他独特的风采。晋唐时期图画之中的嵇康形象是近乎完美的,他仪容俊美,吟啸自若,傲然独立,雍容调畅。晋唐时期书帖中的嵇康条目,则在嵇康文学的风格方面给我们带来启发性的认识。本文附录了1900～2008年海内外嵇康研究论著索引。更多还原

【Abstract】 The current research on Hsi K’ang is neither conscious nor systematic; this paper begins with the perspective "acceptance research" and focuses on the acceptance of Hsi K’ang’s literature and art in the Six Dynasties period with "pre-Tang" as the delimitation to develop some new ideas for further understanding Hsi K’ang’s personality and literary and artistic creation. In this dissertation, the "Introduction" part reflects on the status quo of "reception aesthetics" and the "acceptance research" in the field of classical literature.The first chapter explores the "immortalization" and "apotheosis" of the image of "Hsi K’ang". The immortal belief, the medicine taking, the creation tours, the subtle relationship between profound scholars and the immortals in the Legend of Profound Scholars and the legends of Hsi K’ang’s immortal quality and celestial change create the "immortalization" of the image of "Hsi K’ang". This is a product of Hsi K’ang’s immortal activities and his Taoism practices. The "apotheosis" of the image of "Hsi K’ang" comes mainly from the image recreation under novelists and the worship by the later generation solicited by Hsi K’ang’s qualities, talent and spirit.The second chapter explores the acceptance and exclusion of Hsi K’ang, the acceptance of Letter to Shan T’ao and the exclusion of Hsi K’ang’s being killed during health promotion", in Jin Tang. Besides the literary clue from the "On defilation" from the Six Dynasties, Letter to Shan T’ao has unique artistic charms. The biggest impact on the later generation is Hsi K’ang’s laziness. There is a ambitions statement in Letter to Shan T’ao, which embodies Hsi K’ang’s world feelings and impacts on the later generations. Zhong Hui’s argument aroused the discussions of the later generations on Hsi K’ang’s "ominous death". The irony and criticism on Hsi K’ang’s "ominous death" in Jin Tang is mainly from the Confucians. The criticism on Hsi K’ang from metaphysics and literature is very vague, not a strict criticism.The third chapter discusses the literary phenomena of Hsi K’ang and the death literature of the Six Dynasties based on Xie Lingyun’s explanatory notes on Hsi K’ang in the Last Poem. From studying on the smooth theme flow and the versions of appellations, the "Mr. Hsi" in Xie Lingyun’s poems should be Hsi K’ang instead of Hsi Sh’ao. The persecution during the Six Dynasties is a huge impact on their spiritual world. Hsi K’ang’s guqin playing before his death had a huge influence on death literature in the Six Dynasties. Guang Ling Verse is a master piece during the Six Dynasties. The prison life of Hsi K’ang produced the typical personage effect and gave people during the Six Dynasties the impression of sadness. Before his death, Hsi K’ang transcended his sad life while people of the Six Dynasties couldn’t. After his death, Hsi K’ang was memorized by later generations.Hsi K’ang had a wide interest and was very talented. The acceptance by the later generation also involves many aspects. The fourth chapter tries to outline a clear and effective history of Hsi K’ang’s acceptance from his vert feelings (silk tree, pine, bamboo, willow and peach tree). Hsi K’ang left unique aesthetic tastes for many vert to the later generations.Hsi K’ang can paint and write; in particular, his script is very good and enjoys a high evaluation of later generations. From the perspective of acceptance history, the later generations’ record of Hsi K’ang’s painting are very problematic. Chapter V finds that the painter of "the lion attacking the elephant" is possibly Zong Bing instead of Hsi K’ang. Hsi K’ang and his poems and articles are mostly found in his calligraphy and painting works. During the Six Dynasties, Hsi K’ang’s painting is mainly An Interpertation of Hsi K’ang’s Nineteen Poems Presented to Hsi Hsi on His Entry into the Army. Hsi K’ang’s poems have been widely copied by the calligraphers. Hsi K’ang’ paintings fully illustrate his unique style. Hsi K’ang ’s image in paintings of Jin and Tang Dynasties are almost perfect: handsome, grace, proud and independent. The book entries of Hsi K’ang in Jin and Tang Dynasties can bring us enlightening awareness in Hsi K’ang’s literary style.In this paper, the index of studies on Hsi K’ang from 1900 to 2008 at home and abroad is listed in the appendix.更多还原