隋唐五代诗歌的图像化修辞  

The Pictorial Rhetoric of Poetry in Sui, Tang and Five Dynasties

作　　者：郭伟[1] GUO Wei(College of Chinese of Language and Literature,Henan University,Kaifeng,Henan475001 China)

机构地区：[1]河南大学文学院,河南开封475001

出　　处：《贵州工程应用技术学院学报》2018年第5期7-17,共11页Journal of Guizhou University Of Engineering Science

基　　金：河南省教师教育课程改革研究项目"中小学教师‘视觉艺术素养’的教育行动研究";项目编号:2017-JSJYYB-011

摘　　要：沿袭前人积极探索诗性语言的热情而来,隋唐五代诗人进一步发现和开掘出语言强大的构绘功能。他们灵活运用多种语言图像化的修辞手法,融合精妙的物象造型、色彩敷染甚至是镜头推拉、类蒙太奇画面等艺术手段,在诗行中生成了极富视觉冲击力的美学效果。基于此,这一时期的诗歌不但在虚拟的图像空间里实现了丰厚的精神寄寓和阔大的襟怀抒写,而且为后世留下了大量具有图像或镜像特征的诗性符号乃至由系列诗性符号构成的图像母题。同时,也因其呈现出的通达本体层面的"元美"境界而为后世"逸"品文人画提供了可资借鉴的"诗画同构"的构思模式。Following the enthusiasm of the predecessors to actively explore poetic language, the poets of the Sui, Tang and Five Dynasties further discovered and excavated the powerful constructive painting function of language. They used the rhetorical techniques of multiple visualization of language flexibly, combined the the artistic means involving exquisite object modeling, color painting and even lens＇ push-pull, montage-like pictures and so on, and produced a very visual impact of the aesthetic effect in the lines of poetry. Based on this, the poetry of this period not only realized rich spiritual connotation and the broad-minded expression in the virtual image space, but also left a large number of poetic symbols with image or mirror features and even the image motifs composed of a series of poetic symbols for later generations. At the same time, it also provided a reference of poetry and painting is omorphism conceptual model for ＂Leisure products＂ of literati painting in ages. Because it appeared the level of meta-aesthetics which reaches the ontological realm.

关 键 词：隋唐五代 诗歌 语象 图像化修辞 语言构绘功能 

分 类 号：I207.226[文学—中国文学]