屈原诗歌图绘传播的计量分析  

Bibliometric Analysis of the Painting Spread of Qu Yuan's Poetry

作　　者：龚红林[1,2] 

机构地区：[1]湖北第二师范学院文学院 [2]湖北方言文化研究中心,武汉430205

出　　处：《湖北第二师范学院学报》2015年第1期1-6,37,共7页Journal of Hubei University of Education

基　　金：湖北省教育厅人文社科青年项目(14Q121);湖北省高校人文重点研究基地"湖北方言文化研究中心"后期资助项目

摘　　要：屈原诗歌的图绘传播,特指取材于屈原诗作用美术绘画形式将屈诗中丰富的题材、情感、想象、文辞等加以展示的传播方式。通过统计分析历代画谱类、笔记类书籍及当代楚辞书目中所著录的屈原诗歌图绘,可知,屈原诗歌的图绘传播始于南朝宋(420-479),绘图作者总数突增出现在明代;历代图绘最多的是屈原的《九歌》;历代传播最广的是北宋李公麟《九歌图》,其次是明末萧云从绘、清门应兆补绘《离骚全图》。图绘屈原诗歌,实质是变通取意的图像阐释模式,对普通读者和观画者具有比文字更强的视觉冲击力,对观画者精神起了提升浸润作用。Painting spread of Qu Yuan＇s poetry refers to the mode of transmission in particular to display Qu poem＇s rich themes,emotions,imaginations,and language with the art form of painting. By bibliometric analysis of Qu Yuan＇s poetry painting from ancient picture collection,anecdote materials and contemporary bibliography of the Chu poetry,we find that the painting spread of Qu Yuan＇s poetry began in the Song Dynasty（ 420- 479） of the Southern Dynasties（ 420- 589）,the total number of painters surged in the Ming Dynasty,among the ancient paintings Qu Yuan＇s Nine Songs is painted the most,and the most widespread is Nine Songs Chart painted by Li Gonglin in the Northern Song Dynasty,the second is Lisao Paintings of Xiao Yuncong＇s painting at the end of the Ming Dynasty（ 1368- 1644） and Men Yingzhao＇s inpainting in the Qing Dynasty（ 1644- 1911）. The inforgraphics of Qu Yuan poetry is in essence the image interpretation model of flexible significance,giving ordinary readers and viewers a strong visual impact and a spiritual lift beyond words.

关 键 词：屈原诗歌 图绘传播 计量分析 

分 类 号：I207.223[文学—中国文学]