骚辞与图的传统及体义

The Tradition and Embodying Meaning of Ci and Painting of Sao

在楚辞艺术史上,围绕屈原为代表的创作,形成了两大承续传统,分别是“拟骚”的语象与“绘骚”的图像,二者有着各自的历史发展节点,又有共承的经义思想与骚怨精神。由于拟骚重“辞”与骚图重“像”的不同,产生了个性化与程式化的差异,并决定了前人对其价值的得失评述。而因后世赋家、画师对楚辞原典摹写的游离与聚合,又产生了一些值得关注的创作现象,也值得我们省察并探寻其意义。

In the art history of Chu Ci,around the creation represented by Qu Yuan,there have been two successive traditions:the literature of“imitating Sao”and the image of“painting Sao”.Both of them have their own historical development nodes,and share the Confucian thoughts and spirit of resentment.Because of the difference between“Ci”and“image”,there are differences between individualization and stylization,which determines the previous comments on its value.Due to the dissociation and aggregation of later Fu writers and painters to the original copy of Chu Ci,some creative phenomena worthy of attention have been produced.This paper aims to explore the significance of this phenomenon by examining it.