窗内观竹:白居易诗歌的“窗竹”意象与文人画中的“无窗之窗”  

Appreciating Window Bamboo from Indoors:The Image of“Window Bamboo”in Bai Juyi s Poems and the“Windowless Window”in Literati Paintings

作　　者：王悦笛 Wang Yuedi

机构地区：[1]中国社会科学院研究生院文学系

出　　处：《中国社会科学院研究生院学报》2020年第6期100-109,共10页Journal of Graduate School of Chinese Academy of Social Sciences

摘　　要：白居易对“窗竹”意象的表现做出了极为重要的开拓,他将观察窗竹的视角,由侧重室外转向侧重室内。室内所独有的卧观竹形、卧听竹声、卧感竹风及竹阴等多种品赏方式,增添了窗外翠竹的韵味,也象征化地体现了窗纳万物的园林审美方式。白居易对室内视角审美内涵的丰富和开拓,对后世相关题材的诗歌和绘画均产生了一定的影响。文人画中隐去窗框、以暗含的室内视角表现窗外之竹的“无窗之窗”表现法,以及作为“无窗之窗”前提之一的“窗景如画”观,都与白居易的窗竹书写有密切的联系。Bai Juyi has achieved an extremely important development in the expression of the“window bamboo”image.He changed the perspective of appreciating window bamboo from outdoors to indoors.The unique indoor ways of appreciating bamboo,including lying and viewing bamboo shape,lying and listening to bamboo sound,lying and enjoying bamboo breeze and bamboo shade,etc.,add to the charm of the green bamboo outside the window,and symbolize the aesthetic philosophy of gardening that the window holds everything.Bai Juyi s enrichment and development of the aesthetic connotation of the indoor perspective has exerted a certain impact on similarly themed poems and paintings by later generations.In literati paintings,the“windowless window”expression technique of hiding window frames and representing the bamboo outside the window with an implicit indoor perspective and the view of“picturesque window scenery”as one of the premises of the“windowless window”technique are closely related to Bai Juyi s window bamboo writings.

关 键 词：白居易 窗竹 室内 无窗之窗 

分 类 号：I206.2[文学—中国文学]