《金瓶梅》中的镜意象叙事的“技”与“道”  

The“technique”and“implication”of the image of mirrors in Jin Ping Mei

作　　者：曾泽欣 ZENG Zexin(The College of Humanities,Shaanxi University of Technology,Hanzhong 723001,Shaanxi,China)

机构地区：[1]陕西理工大学人文学院,陕西汉中723001

出　　处：《河南理工大学学报（社会科学版）》2024年第4期71-77,共7页Journal of Henan Polytechnic University:Social Sciences

摘　　要：《金瓶梅》中的“镜”意象的出现多达七十八次,有照镜梳妆、作为陪嫁之物、官员往来送礼等用途。镜子在小说中起到的叙事作用有人物对镜叹红颜易逝,抒闺怨情思;映衬人物形象;作为男女交欢场合的特殊存在,成为富有暗示性意象;使情节前后呼应;用于正面刻画人物形象,影射作品主题的功能。因镜子与佛道二教的关联,全书体现了佛教的因果报应思想与道教的涤除污垢以保持心灵纯澈的思想文化意蕴。In Jin Ping Mei,the image of mirror appears many times,and it is used for a variety of purposes,including combing makeup in the mirror,as a dowry,and as a gift for officials.Mirrors play a narrative role in the novel,as evidenced by the characters’sighing in the mirror about beautiful women easily fickle and expressing the complaints of young ladies;reflecting the characters’images;becoming suggestive imagery as a special presence on occasions of sexual intercourse;echoing the plot;and being used to positively portray the characters and insinuate the theme of the work.The association of mirrors with Buddhism and Taoism lends the book an inherent quality that aligns with the Buddhist concept of karma and the Taoist idea of cleaning the mind to maintain its purity.

关 键 词：金瓶梅 镜子 叙事作用 文化意蕴 

分 类 号：I242[文学—中国文学]