趙孟頫 題畵詩의 감각적 표현 연구
DC Field | Value | Language |
---|---|---|
dc.contributor.author | 김준연 | - |
dc.contributor.author | 이지민 | - |
dc.date.accessioned | 2021-12-27T05:41:01Z | - |
dc.date.available | 2021-12-27T05:41:01Z | - |
dc.date.created | 2021-08-31 | - |
dc.date.issued | 2014 | - |
dc.identifier.issn | 1226-4555 | - |
dc.identifier.uri | https://scholar.korea.ac.kr/handle/2021.sw.korea/133331 | - |
dc.description.abstract | 趙孟頫的詩歌之所以沒有受到關注, 不是因爲趙孟頫的作詩水平本來很低, 而是因爲有其他理由。他作爲宋朝的宗室, 出仕元朝的行動引起了強烈批判。對出仕問題的強烈批判終於影響詩歌的評價。而且後代人貶低元朝雅文化。但是趙孟頫提倡復古唐詩之風, 先導元詩四家的出現。趙孟頫的作詩水平確實値得一看, 應該再考的詩歌的成就。本文認爲再考趙孟頫詩歌的較好的方法, 就是查看他的題畫詩。在元代, 繪畵的位相很高, 題畵詩的創作也很多。趙孟頫本人也作爲一個畵家, 在中國繪畵歷史上有輝煌奪目的成就。所以我們不難豫測, 畵家兼詩人趙孟頫精通創作題畵詩。一般來說, 優秀的題畵詩要求兩個因素。一是它補充原畵表現不夠的部分。二是離開原畵, 題畵詩本身具有的藝術性。可以說, 題畵詩的成就在於這兩個因素的調和。本文認爲趙孟頫用“感覺性表現”手法來, 比較圓滿成功地協和這兩個因素。趙孟頫常用的“感覺性表現”手法有五種:“增添顏色”、“動態性表現”、“聽覺性表現”、“擬人化”、“復合性表現”。詩歌則是通過語言來塑造形象, 能夠表達出種種不同的感覺。那麽, 趙孟頫憑借詩歌語言的這一特點, 能夠從“感覺性表現”營構藝術形象, 豐富了畵面的審美蘊涵。這種成就充分說明, 趙孟頫詩歌創作得到應有的關注和評價。 | - |
dc.language | Korean | - |
dc.language.iso | ko | - |
dc.publisher | 중국어문연구회 | - |
dc.title | 趙孟頫 題畵詩의 감각적 표현 연구 | - |
dc.title.alternative | The Sensuous Representations of Zhao Mengfu(趙孟頫)'s Poems on Painting | - |
dc.type | Article | - |
dc.contributor.affiliatedAuthor | 김준연 | - |
dc.identifier.doi | 10.26586/chls.2014..64.006 | - |
dc.identifier.bibliographicCitation | 중국어문논총, no.64, pp.121 - 144 | - |
dc.relation.isPartOf | 중국어문논총 | - |
dc.citation.title | 중국어문논총 | - |
dc.citation.number | 64 | - |
dc.citation.startPage | 121 | - |
dc.citation.endPage | 144 | - |
dc.type.rims | ART | - |
dc.identifier.kciid | ART001903686 | - |
dc.description.journalClass | 2 | - |
dc.description.journalRegisteredClass | kci | - |
dc.subject.keywordAuthor | 趙孟頫、題畵詩、感覺性表現、增添顏色、動態性、聽覺性、擬人化 | - |
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