傅抱石«九歌图»诗画意境探析  

Artistic conception of Fu Baoshi's paintings of Nine Songs

作　　者：王琦[1] WANG Qi(School of Chinese literature,Liaoning Normal University,Dalian,Liaoning,116081,China)

机构地区：[1]辽宁师范大学文学院,辽宁大连116081

出　　处：《豫章师范学院学报》2023年第4期22-26,共5页Journal of Yuzhang Normal University

摘　　要：傅抱石对屈原的推崇使其在抗战期间自觉以«九歌»为题材进行绘画创作.早期的«九歌图»人物画创作实践.为1954年其绘制«九歌图册»提供了整体构思.其«九歌图»高度还原«九歌»文本中的诗意场景,诗画意境交融;文图转化过程中傅抱石通过表现神话人物情感再现«九歌»文本中的“有我之境”,画境与文本情感交织;画作注重表现九歌人物的风神,诗画人物形神契合.图中诗画意境、笔墨韵味和审美意趣传达了绘者广阔的时空意识和生命意识.艺术创作呈现出文、人、画三种格调的统一.Fu Baoshi's admiration for Qu Y uan made him consciously paint with the theme of Nine Songs in the face of na-tional suffering and national crisis during the Anti-Japanese War,the early creation practice of figure paintings about Nine Songs provided the overall idea for his creation of Nine Songs album of paintings in 1954.Fu Baoshi's paintings of Nine Songs highly restore the poetic scenes in the text of Nine Songs,showing the blending and unity of poetic spirit and painting artistic conception.In the process of text and image transformation,the emotion of the mythical characters in the picture is shaped to convey the author's emotion in the text by Fu Baoshi.The artistic conception and text emotion are deeply unified.Fu Baoshi's paintings of Nine Songs pay attention to the"spirit"of the figures in the Nine Songs,and the figures in the poems and paintings are in harmony with each other.Emotional similarity of characters in poetry and paintings.The composition of the picture,the rhythm of the brush lines and the aesthetic interest convey the author's broad sense of space time and life.The artistic creation presents the unity of three styles of literature,people and painting.

关 键 词：傅抱石 九歌图 诗画意境 文图关系 

分 类 号：J212[艺术—美术]