文学与图像视野下唐代诗歌女性形象书写  

Female Image Writing in Tang Dynasty Poetry from the Perspective of Literature and Image

作　　者：杨贺 Yang He(School of Liberal Arts,Jiangsu Second Normal University,Nanjing,Jiangsu 211200,China)

机构地区：[1]江苏第二师范学院文学院,江苏南京211200

出　　处：《保定学院学报》2023年第2期83-91,共9页Journal of Baoding University

基　　金：国家社会科学基金重大项目“敦煌佛教文学艺术思想综合研究(多卷本)”(19ZDA254);江苏省社会科学基金青年项目“佛教音乐中国化语境下的唐代韵文文学研究”(21ZWD003);中国博士后科学基金第71批面上资助项目(2022M710026)。

摘　　要：六朝时期顾恺之的“传神”论和谢赫的“六法”论为仕女画艺术风格的演变提供了学理支持,并开启了新的文艺美学走势。唐代画家以精湛的技艺践行了六朝人的审美理想,同时也为诗歌人物形象的传神描写提供了宝贵的艺术经验。唐代诗人将仕女画的“骨法用笔”、线条勾勒和敷彩设色等艺术技巧施之于诗歌女性形象描写中,从而刻画出“气韵生动”的女性形象。唐代诗歌与绘画艺术上的互通、互渗不仅体现在高超精妙的技巧上,更体现在深层次的艺术精神上。During the Six Dynasties, Gu Kaizhi’s theory of "vivid expression" and Xie He’s theory of "Six Laws" provided theoretical support for the evolution of the artistic style of ladies’ painting, and opened a new trend of literary aesthetics. The painters of the Tang Dynasty practiced the aesthetic ideal of the people of the Six Dynasties with exquisite skills, and at the same time provided valuable artistic experience for the vivid description of characters in poetry. The poets of Tang Dynasty applied the artistic techniques of "bone painting with pen", line drawing and color painting to the description of female images in poetry, so as to depict the female images with "vivid charm".The intercommunication between poetry and painting art in Tang Dynasty is not only reflected in the superb and exquisite skills, but also in the deep artistic spirit.

关 键 词：文图视野 唐诗 绘画 艺术精神 

分 类 号：I207.22[文学—中国文学]