论明清传奇中画中人意象

On the Images of "Human in Painting" in the Legends of the Ming and Qing Dynasties

"画中人"是一种在中国古代小说戏曲中普遍采用的艺术手法。尤以明清传奇《牡丹亭记》、《梦花酣》、《画中人》和《桃花影》中"画中人"意象刻画最为成功。作家借助画像这个特殊载体,或附身画中,或化为人形,在现实与虚幻,阳世与阴间,传达自己的人生观和爱情观,使"画中人"这一母题具有深刻的文学价值和思想内涵。

＂Human in Painting＂ is one of the means of artistic expressions commonly used in Chinese ancient novels and traditional operas. The most successful example of ＂Human in Painting＂ is the one depicted in The Peony Pavilion, Menghuahan, Human in Painting and Taohuaying in the legends of the Ming and Qing Dynasties. The author expresses his or her outlook on life and love through the ＂human＂ in painting who, either in the painting or in the real human figure, exists in reality and illusion, or lives in real world and underworld. And the ＂human in painting＂ is endowed with deep literary values and meanings.