牛郎织女神话叙事结构的艺术转换与文学表现——由汉代“牛郎织女”画像石而引发的思考

The Artistic Transformation and Literary Expression of the Cowherd and the Girl Weaver Story

牛郎织女神话具有两种不同的表现形式，即口头承传的话语形式（文本形式）和以星宿形象为依托的物象形式（画面形式）。缘于上述两种神话表现形式的比较研究，促使我们从不同的角度进一步审视牛郎织女神话，从而发现牛郎织女神话独特的叙事结构和由这种叙事结构所构成的独特的情感和情感表达形式。上述叙事结构和依托这一叙事结构而构成的情感和情感表达形式，因缘于社会普遍存在的情感基础与情感认同而获得了汉代诗人的共鸣，并通过艺术实践和文学创作，构建了独具汉诗特色的诗性审美模式。至唐代，牛郎织女神话完成了向内涵丰富、功能多样的节俗形式的演变。随之，这种由牛郎织女神话的确立而建构起来的审美模式遭到“解构”，其所具有的艺术范式作用，也被唐代诗人所抛弃。

There are two forms of the presentation for the Cowherd and the Girl Weaver Story. One is the written record and the other is the picture form of the related constellations. The comparative study of the above-mentioned forms enables us to make further analysis about the implications of the Cowherd and the Girl Weaver Story. In such studies, we have seen a unique narrative structure, distinctive emotions, and remarkable ways in conveying feelings in the said story. With a common emotional basis existed in society, the expression of the story heavily relies on the narrating structure of the story and reflects the emotional response of the Han poets to the reality. The presents of the story constructed a lyrical aesthetic pattern with the distinctive Han poem characteristics. By the Tang Dynasty. The Cowherd and the Girl Weaver Story evolved into the folk custom of that time with abundant connotations and varied functions. The aesthetic pattern of Cowherd and the Girl Weaver Story presented in the Han Dynasty was however abandoned and its function as an artistic formula was given up by the Tang poets.