“语言的画师”:论绘画性对艾青诗歌的渗透——以艾青早期的诗歌为考察中心(1932-1942年)

“Painter of Language”:on the Penetration of Painting to Ai Qing's Poems--a Focus on the Early Poems of Ai Qing(1932-1942)

艾青早年的绘画艺术经历与他后来的诗歌创作具有紧密关系。本文旨在研究绘画性如光影、线条、色彩等对艾青诗歌的渗透,或曰二者的融合。艾青善于捕捉光线,往往在大片的阴影中抓住一丝亮光,利用大面积的暗部突显小范围的亮部,从而构造出明暗对比鲜明的画面;他注重以线立形、用线造型,常常用硬挺、深邃的线条突出对象的某个外在特征,以表现其精神特质;他还有意识地以“色”达意,注重各色块的拼接组合、流动变化,表现事物的内在特征,并且善于运用色相、色域的色彩对比关系来表达他的思想感情。这些绘画因素的使用与诗歌的精神内核相一致,使得艾青的诗更具张力和生命力。

Ai Qing*s early painting experience is closely related to his later poetry creation.This paper aims to study the influence or the integration of painting on Ai Qing's poems,such as light and shadow,lines and colors.Ai Qing is good at catching light,and often catches a glimmer of light in a large shadow,uses a large area of dark parts to highlight a small range of bright parts,so as to construct a bright contrast between light and dark.He pays attention to the establishment and modeling of lines,and often uses rigid and profound lines to highlight an external feature of the object,expressing its spiritual characteristics.He also consciously expresses his ideas with color,paying attention to the combination,flow and change of various color blocks to show the internal characteristics of things,and his is good at using color contrast relations such as hue and color gamut to express his thoughts and feelings.The use of these painting factors is consistent with the spiritual core of poetry,which makes Ai Qing’s poems more tension and vitality.