论废名小说的“画境”生成  

On the Generation of “Painting Scene” in Fei Ming’s Novels

作　　者：张星星 Zhang Xingxing(Huanggang Normal University)

机构地区：[1]黄冈师范学院文学院

出　　处：《写作》2022年第6期72-80,共9页Writing

摘　　要：在绘画美学的视域下,废名小说有着独特的援引绘画艺术进入小说,以文为画、文画互涉的“画境”特质。在文画互涉思维下,废名以绘笔行文,或直接以文作画,建构画境文本,或间接汲取传统绘画技法,画化小说。具体而言,通过“清用无痕”与“丹青对比”的色彩美学,生成意境、渲染心境,营构和谐律动的画外之韵;通过“逸笔草草”“千皴万染”的笔墨诗学,传神写意、侧面叙事,蕴含丰富的画外之音;通过“散点透视”“人景合一”“雷声渊默”的构图哲学,彰显浓厚的画外之境,传达出“万古长空,一朝风月”的道之审美。废名以此文画互涉的跨界思维,开创了独特的“画境小说”,拓展了现代小说的审美空间与表现手法。From the perspective of painting aesthetics,Fei Ming’s novels have a unique “Painting Scene”,which refers to painting art and takes literature as painting. Under the cross-boundary thinking of the interaction of literature and painting,Fei Ming wrote as drawing,or directly painted with literature to construct painting text,or indirectly learned the traditional painting techniques to paint novels. To be specific,through the color poetics of “Light color without carving” and “Contrast of colors”,Fei Ming tried to generate artistic images,to render moods and build a harmonious rhythm which outside the painting. Through the lines of “Yi Bi Cao-Cao” and “Qian Cun Wan Ran”,the novels convey vivid freehand style and side narrative,which contain abundant voices outside the painting. Through the composition art of “scatter perspective”,“integration of man and scene” and “as silent as the thunder”,the novels highlights the strong outside of the painting and convey the Tao aesthetic of “Eternal sky,once the wind and moon”. This kind of cross-boundary thinking of the interaction of literature and painting creates a unique “painting novels”,which expands the aesthetic space and expression techniques of modern novels.

关 键 词：废名 文画互涉 画境小说 绘画美学 

分 类 号：I206.2[文学—中国文学]