摘要
《诗馀画谱》融词、画、书为一体,兼具版刻艺术与文学价值,是探讨中国古代诗词的图像诠释问题的经典案例。在诗词作品图像化的过程中,画家充分调动绘画艺术的表现特长,还原文学情境,注入新的视觉因素,拓宽文本的意义空间;同时,为了规避绘画艺术的表现缺陷,画家删简情节内容,改塑文学形象,调整文本视角,重构作品时空,为诗词作品的阐释注入新质。通过"截句入图"的艺术实践,画家对传统文学名句加以"再选择",从而借助视觉方式参与了文学经典的建构与传播。
Published in the late Ming, "Shiyu Huapu" successfully combines the "Three Perfections"(Song lyrics, painting and calligraphy), thereby offering a new perspective on the study of the pictorial interpretation of Chinese classical poetry. This paper examines the relation of text and image in the "Shiyu Huapu". Specifically, how do the woodcut illustrations amplify and expand the meaning of the Song lyrics? How did the late Ming artists simplify the literary texts in order to get rid of the limits of painting? How did they recreate the literary characters and plots, so as to convey their own ideas and feelings? In particular, how did the late Ming artists select the "painting lines" from the original texts is studied. It indicates that painting, as a unique medium, makes great contribution to the canonization of Chinese classical poetry. All these discussions aim to enhance our understanding of the Chinese poetry-painting relationship as well as the print culture in late Ming China.
出处
《南京艺术学院学报（美术与设计）》
CSSCI
北大核心
2018年第4期6-13,共8页
Journal of Nanjing Arts Institute:Fine Arts & Design
关键词
《诗馀画谱》
宋词
诗词画谱
晚明
图像诠释
"Shiyu Huapu"
Song lyrics
poetic painting manual
the Late Ming
pictorial interpretation
