唐宋“四六”漸變轉型的藝術軌迹

從晚唐五代到宋初百年,"四六"創作成績斐然。李商隱等人開啓了駢詞儷句引領風騷的新時代。唐末"羣雄割據、各務爭勝"的現實需求,爲幕府文士提供了特殊機遇,他們"飛文染翰以濟霸國",促進了"四六"駢文的興盛。"沙陀三王朝"時期,"四六"創作的重心從中原地區轉移到了南方各地。江南文人將辭賦乃至"古文"創作的技巧廣泛運用於駢詞寫作之中,爲北宋"四六"的興盛導夫先路。宋初"四六"繼續蔓延,而以詩賦取士的科舉制度更造就了许多"四六"名家。雖說"四六"稱盛的文學史意義還有待商榷,但唐、宋文章藝術轉型的基因蛻變實際根源於箋表奏疏的基本事實卻不容否認。

The Gradual Change Track of The Parallel Prose From the Tang Dynasty to Song Dynasty

From the late Tang and Five Dynasties to the first one hundred years of the Song Dynasty, the parallel prose is impressive. Li Shangyin opens a new era of the parallel prose writing. The status of the separatist warlords in the end of the Tang Dynasty provides special opportunities to the shogun scribes who serve the warlords with literature. So,the parallel prose writing reaches its peak during this period. In the period of the Later Tang Dynasty,the Later Han Dynasty and the Later Jin Dynasty,the center of the parallel prose writing transfers to the South China. The writers write the parallel prose with the method of writing the Fu and the classical style prose, which opens the way to the peak of the parallel prose writing for the Northern Song Dynasty. Early in the Song Dynasty,writing of parallel prose continues to spread. The system of examination with poetry and Fu creates many well-known writers. Although it’s questionable in literary history that we say the parallel prose is at its height in this period,the fact cannot be ignored that the gene of the artistictransformation from the Tang Dynasty to Song Dynasty roots in the Jian,Biao,Zou and Shu.