| 张渥的《九歌图》与神话形象 | |
| 陈池瑜 ; CHEN Chi-yu | |
| 2010-06-07 ; 2010-06-07 | |
| 关键词 | 元代张渥 《九歌图》 屈原《九歌》 I206.2 |
| 其他题名 | Nine Songs Handscrolls of ZHANG Wo and Mythical Images |
| 中文摘要 | 宋代有李公麟的《九歌图》,元代又有张渥临李公麟和创作的五幅《九歌图》,由此组成了一个有关《九歌》中的神话形象的群体,带有以图配诗的性质。张渥在李公麟基础上,创造了九歌系列神话形象,以线造型,风格清新,形象飘逸,线条流畅,其白描线条如行云流水。《九歌图》使屈原《九歌》的文字形象获得生动的视觉审美形象,使楚国之神话形象得到更为广泛的流传,并加强了中国诗书画结合在同一平面的卷轴中这一民族艺术形式的表现力,使绘画与诗词、视觉艺术与听觉艺术完美的统一于一件作品之中,这使得张渥在中国人物画史上及中国神话形象的视觉图像创作中占有重要地位。; Nine Songs handscrolls created by LI Gonglin of the Song Dynasty and at least five sections of the Nine Songs handscrolls which created and imitated LI Gonglin by ZHANG Wo of the Yuan Dynasty have made up a group of mythical images related to the Nine Songs with a quality of interpreting the poems. Based on LI Gonglin’s works, ZHANG Wo created a series of mythical images about the Nine Songs ,molding by smooth lines and fresh of styles. The Nine Songs handscrolls made the Nine Songs of QU Yuan gained the vivid visual esthetic images, spreaded the Chu State’s mythical images more widely, strengthen the expression of the national art form of showing the Chinese poems, calligraphy and painting in one plane picture , unite perfectly the paintings and poems, the visual art and auditory art in one work, and all of these have made ZHANG Wo played an important role in the history of Chinese figural paintings and the visual images’ creation of Chinese mythical images. |
| 语种 | 中文 ; 中文 |
| 内容类型 | 期刊论文 |
| 源URL | [http://hdl.handle.net/123456789/41831]  |
| 专题 | 清华大学 |
| 推荐引用方式 GB/T 7714 | 陈池瑜,CHEN Chi-yu. 张渥的《九歌图》与神话形象[J],2010, 2010. |
| APA | 陈池瑜,&CHEN Chi-yu.(2010).张渥的《九歌图》与神话形象.. |
| MLA | 陈池瑜,et al."张渥的《九歌图》与神话形象".(2010). |
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