美盛德而述形容:『骈体文钞』萧纲三颂的王权书写

Abstract

Li Zhaoluo selected Xiao Gang’s Southern Suburbs Song, Dafa Song and MaBao Song in the second volume of the first part of parallel style Wen Chao. Although the writing origin and content are different, they are respectively praising the ancestors, praising the Dharma, and singing the god horse, but the theme is to promote the king''s power and praise the prosperous times. Southern Suburbs Song reflects Xiao Gang''s pride in the glorious times of the dynasty and and his enthusiasm to extol the imperial government. The nature of the rites and the stylistic characteristics of the eulogy determines that the main content of Southern Suburbs Song is to eulogize the emperor''s merits, to promote the politics of the king''s power, and depict the glorious times. Xiao Gang''s Dafa Song and MaBao Song are not pure Buddhist texts, but the combination of Buddhism and the concept of royal power, which fully exaggerates Xiao Yan''s literary governance and martial arts, benevolence and morality, and the majesty of the emperor. In the end, although it is attributed to praising Buddhism and pursuing all living beings, the essay has a large part of the praise of literary and martial arts, and the prosperity of benevolence, which fully demonstrates Xiao Gang''s enthusiasm for the political writing of royal power. Compared with the traditional writing of eulogizing the royal power, the introduction of Buddhist concepts into the political level of royal power, the knowledge concept and the way of discourse have changed. The fu and song styles are all derived from the Confucian classics. The prefaces and texts of Xiao Gang''s three songs are written in the form of fu, and they are basically pure and elegant, avoiding extravagance. Xiao Gang''s three Songs focuses on the writing of royal power, which is also closely related to the stylistic nature of eulogizing virtues and praising success. Xiao Gang''s writing of the royal power in his eulogies combines Confucianism and Buddhism systems in concept and discourse, which is not limited by the traditional concept of formal and variant in song style and has transcending significance.