本文選題：屏山意象 + 唐五代詞�。� 參考：《中山大學學報(社會科學版)》2017年04期

【摘要】：學界普遍將唐五代詞中的"屏山"誤解為一般屏風或折疊屏風,以致對屏山意象的豐富內(nèi)涵與獨特意境少有關(guān)注,對相關(guān)作品的解讀也多有爭議。綜合相關(guān)文獻與史料,可證明"屏山"專指山景畫屏,包括折疊與獨扇屏,顏色以青綠為主,屏畫以蘊涵愛情傳說的江南、西蜀山景為主。屏山意象奠基于唐詩,在晚唐溫庭筠詞中被提煉出來,與詞婉約的體勢相得益彰,故流行于唐宋詞中。其形成的前提是唐五代屏風上山水畫的流行,興起的關(guān)鍵原因則是山景屏畫與屏障形制相配合,在"擬山"上具有獨至之妙,能不受時空限制的興起望山念遠之思,因此成就了屏山有別于真山與其它屏風的神韻和風采。
[Abstract]:Scholars generally misunderstand "Pingshan" in the ci of Tang and five dynasties as general screen or folding screen, so little attention is paid to the rich connotation and unique artistic conception of Pingshan image, and the interpretation of related works is also controversial. By synthesizing relevant documents and historical data, it can be proved that Pingshan refers to the mountain scenery painting screen, including folding and single fan screen, the color of which is mainly green, and the screen painting is mainly Jiangnan and Xishu mountain scenery which contain love legend. Pingshan image, based on Tang poetry, was extracted from Wen Tingyun's ci in the late Tang Dynasty, which was in harmony with the graceful style of ci, so it was popular in Tang and Song ci poems. The premise of its formation is the popularity of the screen paintings in the Tang and the five dynasties, and the key reason for its rise is that the mountain view screen works in harmony with the barrier shape, and it has the unique solstice on the "pseudo mountain", and it can look at the distant thoughts of the mountain without the rise of time and space restrictions. Therefore, Pingshan is different from the real mountain and other screen charm and style.
【作者單位】： 中山大學中文系;
【分類號】：I207.23

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本文編號：1880044