【摘要】：漁父意象是中國(guó)傳統(tǒng)文化中一個(gè)突出的文化符號(hào),其源頭主要出自《楚辭·漁父》。柳宗元《江雪》將孤寂、荒寒、靜穆結(jié)合,構(gòu)筑了一個(gè)“寒江獨(dú)釣”的境界,成功塑造了在孤傲中堅(jiān)守的“另類”漁父形象。其蕭條澹泊、荒寒簡(jiǎn)遠(yuǎn)的美學(xué)追求,代表了傳統(tǒng)山水繪畫的最高審美體驗(yàn)。在后世蔚為壯觀的漁隱圖中,“寒江獨(dú)釣圖”境界荒寒冷寂,漁父形象孤傲峭拔,不同于悠游閑適或自得其樂(lè)的漁父形象,為中國(guó)文學(xué)提供了一個(gè)經(jīng)典的藝術(shù)原型。漁父形象參與了后世對(duì)屈原的理解和接受,成為對(duì)屈原精神人格的一種獨(dú)特接受視角。
[Abstract]:The image of Yufu is a prominent cultural symbol in Chinese traditional culture. Liu Zongyuan combines loneliness, desolation and silence, and constructs a realm of "Han River fishing alone", which successfully shapes the image of "alternative" fishing father who adheres to solitude. The aesthetic pursuit of its depression and desolation represents the highest aesthetic experience of traditional landscape painting. In the spectacular fishing hidden picture of later generations, the realm of "Han Jiang alone fishing picture" is desolate and cold, and the image of fishing father is lonely and aloof, which is different from the image of fishing father, which is leisurely and comfortable, and provides a classic artistic archetype for Chinese literature. The image of Yufu participated in the understanding and acceptance of qu Yuan in later generations and became a unique perspective of acceptance of qu Yuan's spiritual personality.
【作者單位】： 合肥師范學(xué)院文學(xué)院;

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