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中国古典诗歌中描写自然物象之“影”的风气兴起于南朝时期。晋宋之际,诗歌中已零星出现影意象,之后的永明诗人真正开启了刻意绘影的先声,迨及梁代,经简文帝萧纲、湘东王萧绎的倡首,写影蔚然鳞集,形成了写景而嗜影的浓厚风气。从刻画影的形貌和捕捉影的动态两方面可以看出齐梁诗人在写影艺术上灵敏的审美感悟力及精巧的语言表现力,其中尤其值得关注的是萧纲诗歌在写影上的创新性手法。写“影”风气的背后是佛教的影响和佛典语言的渗透,采撷影像入诗,是佛典语言中的“影”喻表达在诗歌中的映现。
The image of “Shadow” in Chinese classical poetry describes the rise of the natural image in the Southern Dynasties. Jin and Song dynasties, poetry has sporadically appeared in the shadow of the image, after the Yongming poets really opened the pretext of deliberately painting, 迨 and Liang Dai, Xiao Wen Emperor Jian, Wang Dong Yi Xiao Yi’s advocacy, portrayal Scale set, forming a strong atmosphere of writing scene and addictive. It can be seen from the morphology of the portrayal of the shadow and the dynamics of capturing the shadow that the poetic artist QI Liang’s sensitive aesthetic feeling and exquisite linguistic expression in the art of film and shadow are especially noteworthy in his poems Innovative techniques. Behind the ethos of writing “shadow” is the influence of Buddhism and the penetration of the Buddhist language, and the acquisition of images into poems is the reflection of the “shadow” metaphor in the language of the Buddhist scriptures.