宋词中性别化的屏风意象及其艺术功能

Screen's Gendered Imagery and Artistic Functions in Song Poetry

屏风意象是宋词中的重要意象,其在《全宋词》中的出现频率高,大约是《全唐诗》中出现频率的四倍。不同于诗歌中带有强烈男性特征的屏风意象,宋词中的屏风意象呈现出性别化的特征:出现在女性闺房里和出现在男性书房中的屏风意象风格迥异。女性闺房中的屏风作为室内家具可将闺房空间分隔为屏外空间和屏内空间,造成双重窥视,读者不仅可以窥视女性闺房,还可进一步窥视屏内空间里更为隐秘的情事,屏风的设置增强了词作的情色意味,也造成了含蓄婉转的艺术效果;同时女性闺房的屏风还是重要的绘画媒材,词人通过对屏风画的指认来比喻女性的情思。男性书房中的屏风,词人有意将屏风写得极富文人特质,如纤尘不染的素屏、墨迹淋漓的书法屏,以区别于女性空间中绮丽的屏风,即使是山水屏风,也更多表达的是山水隐逸之思,而不是相思缠绵之感。性别化的屏风意象承担着不同的艺术功能,由此产生不同的艺术效果,场所的差异、主人公的性别、观看与被看的角度,造成屏风这一意象在不同情境中的差异化表达。

The imagery of the screen is a significant image of Song poetry. It presents gendered nature. The styles of the screens in female boudoir and male study in Song poems are totally different. The screen in female boudoir is beautiful, not only indoor furniture, but also the painting medium. It is used to increase the erotic implication and connotation of the poetry and re- flect female＇ s affection. However, the screens in male study, such as the simple screen and calligraphy screen, show owner＇ s li- terati traits. Even the landscape screen indicates not lovesickness but reclusion in nature. The gendered imagery of the screen has its own artistic function and artistic effect. The change of places, the gender of the characters and the angle of the observers cause various expressions of the imagery of the screen in different situations.