论《天问》文学与图像的关系  

Relationship Between Literature and Images in Tian Wen

作　　者：何继恒[1] HE Jiheng(Center for Chu Ci Research, Nantong University; Nantong 226019, China)

机构地区：[1]南通大学楚辞研究中心,江苏南通226019

出　　处：《云梦学刊》2018年第2期35-41,共7页Journal of Yunmeng

基　　金：国家社科基金重大项目"东亚楚辞文献的发掘;整理与研究"(13&ZD112);江苏省教育厅高校哲学社会科学基金项目"中国古代屈原作品图像研究"(2017SJB1237);南通大学人文社会科学研究一般项目"萧云从<离骚图>研究"(16w01)

摘　　要：明清易代之际,遗民画家萧云从通过创作《天问图》,借助屈原诗歌的意旨,表达了内心的悲愤哀痛之情,寄寓了深远的劝诫讽谏之意。画家在尽可能忠于原作的基础上,以线条展现了文本的内容,而艺术形式的差异最终导致了原诗意象在图像中的消解。作为一种图像楚辞注本,《天问图》通过对文本的精慎考据,表达了画家独到的学术见解,其中既有对历代文学评注的吸收与批评,也有自己全新的探索与研究。When the Qing Dynasty replaced the Ming Dynasty,Xiao Yuncong,the adherent painter,with the help of Qu Yuan's poem signification,expressed his grieving and advices,through painting the Tian Wen pictures.The painter expressed the poem content with lines,established on the original poem as possible as he can.But the difference between the art forms caused the poem's images disappeared.As an image note of Chu Ci,the Tian Wen pictures expressed the individual academic opinion of the painter through the research of the text:not only absorbed and criticized the former literary comments,but also explored the new field.

关 键 词：天问 文学 图像 

分 类 号：I206.2[文学—中国文学]