从顾恺之《洛神赋图》看绘画对文学的视觉转译  

An Analysis of the Visual Interpretation of Literature by Painting,Taking Gu Kaizhi's Nymph of the Luo River as an Example

作　　者：赵若辰 Zhao Ruochen(City University of Macao,china)

机构地区：[1]澳门城市大学,中国澳门

出　　处：《美术》2024年第10期132-135,共4页Art Magazine

摘　　要：文学是抽象而间接的,蕴含着隐晦的情感表达,绘画则具有直观性和具象性,以定格瞬间的状态来叙述主题。顾恺之以曹植《洛神赋》为母题所作的《洛神赋图》,是画家对文学与绘画关系的重新诠释,也是对文学描述典型瞬间的视觉再造,体现出文学与绘画各自的界限立场、叙述逻辑及传播路径的分野。本文以辽宁省博物馆藏顾恺之《洛神赋图》摹本为中心,旨在讨论如何实现文学与绘画之间的媒介转换,以及绘画如何以视觉表达文学的内在情感因素。Literature is abstract and indirect and expresses emotions implicitly,whereas painting is concrete and direct and demonstrates themes by freezing moments.Gu Kaizhi's painting Nymph of the Luo River,depicting the story in poem Nymph of the Luo River written by Cao Zhi,can be considered a reinterpretation of the relationship between literature and painting,and is also a visual reproduction of a typical moment described in literary works,reflecting differences in boundaries,narrative logic and communications paths of literature and painting.This article focuses on the copy of Gu Kaizhi's Nymph of the Luo River collected by Liaoning Provincial Museum,to discuss how to shift the medium from literature to painting and how painting can visually express emotional factors of literary works.

关 键 词：顾恺之 洛神赋图 图文关系 视觉转译 

分 类 号：J212[艺术—美术] I207.22[文学—中国文学]