文与诗的合而分:论唐代写真赞之文体承变  

The Convergence and Divergence of Literature and Poetry:On the Stylistic Evolution of Tang Portrait Eulogies

作　　者：陈文芝 Chen Wenzhi

机构地区：[1]北京师范大学文学院,100875

出　　处：《杜甫研究学刊》2024年第4期102-114,共13页Journal of Du fu Studies

摘　　要：唐代写真赞遵守赞文四言韵语之体制,延续前代像赞赋笔颂美的传统,亦有所创变:以比兴手法引入物象,使礼仪性、功能性的赞体文具备审美性;创造人物风神品德的隐喻空间,具有“以象照像”的意趣,与诗歌接近。此外,唐代写真赞写到了观画的感受,使之有别于人物赞;抒发像主功业美德不朽的希冀,而非写真诗中成住坏空的感叹。这都使得这一文体具有了独立的意义。写真赞在唐代的文体承变,折射出画史转捩时期文学文本的复杂样态。Tang portrait eulogies adhered to the four-character rhyme scheme tradition of eulogy writing,continuing the legacy of previous portrait encomiums in praising and beautifying their subjects.They also introduced innovations by using metaphorical methods to incorporate images,thus adding aesthetic value to the functional and ceremonial text,creating a metaphorical space that characterizes the elegance and virtues of the portrayed figures.This brings the genre closer to poetry.Additionally,Tang portrait eulogies included the viewers’experiences of the paintings,differentiating them from mere character praises.They expressed aspirations for the depicted figures’achievements and virtues to be immortalized,rather than the transient lamentations seen in portrait poetry.These aspects granted the genre its own unique significance.The evolution of the stylistic features of Tang portrait eulogies reflects the complex literary forms during a transitional period in art history.

关 键 词：唐代 写真赞 人物画 诗赞关系 语图关系 

分 类 号：I206.2[文学—中国文学] K242[历史地理—历史学]