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中国的诗书画一体如何进入小说?这是非常具有学术价值的问题。解决此问题应回到中国古代这类艺术现象。以明代文人李昌祺的文言小说《剪灯余话》中的《芙蓉屏记》为中心,通过细致的文本分析,发现小说故事情节浅层结构为:遇难——分离——流落——受帮助——报仇——团聚。诗书画一体的芙蓉屏,作为完整的小宇宙,其生成运转则是小说的深层结构。人,包括高公、崔英、王氏,既是该深层结构形成之动力,又是其结果。诗书画一体的芙蓉屏进入小说的艺术效应为:芙蓉画及题词的合成过程,作为故事的深层结构,起到了强化故事特性的作用;芙蓉画和题词,铸就了小说中的芙蓉意象;芙蓉屏合成过程有助于塑造人物形象,展示人物心理世界。由《芙蓉屏记》分析可能得出的几点思考:首先,诗书画一体进入小说,应以突出小说艺术特性为原则;空间艺术纳入时间艺术;绘画语言服从小说语言;诗歌的抒情性和所“记”之物流转题材的相互兼容等。
How can Chinese poetry, calligraphy and painting enter the novel? This is a question of great academic value. To solve this problem, we should return to the ancient Chinese art phenomenon. Based on the “Hibiscus Screening” in the literary novel “Chang Deng Yu Hua” of the Ming Dynasty literary scholar Li Changqi, through detailed text analysis, we find that the superficial structure of the story of the novel is: distress - separation - falling - - revenge - reunion. Hibiscus screen integrating poetry, calligraphy and painting, as a complete small universe, its formation and operation is the deep structure of the novel. People, including Gao Gong, Cui Ying, and Wang Shi, are not only the driving forces behind the formation of this deep structure but also their result. The artistic effect of Hibiscus screen into the fiction of poetry, calligraphy and painting as follows: the synthesis process of hibiscus painting and the inscription, as the deep structure of the story, plays the role of strengthening the characteristics of the story; the hibiscus painting and the inscription have created the image of hibiscus in the novel; The synthesis process helps to shape the character image and show the psychological world of the character. From “Hibiscus Screen” Analysis may come to a few ponders: First of all, poetry and calligraphy into one novel, should highlight the artistic characteristics of the novel as the principle; space art into the time art; painting language obey the language of the novel; poetry lyricism and “Mind ” of the subject matter of the logistics and other compatible.