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“霜哺”二字,以意象语取义为节操如洁霜之寡妇茹苦哺育幼儿成人。明末吴中孝子袁骏为节母四下征铭乞诗,陈继儒题名该诗文总汇为《霜哺篇》。约一个半世纪后,乾隆年间少孤的袁廷梼,亦效其先祖为节母遍乞诗文辑成专集,孙星衍曰:“遍乞当世贤士夫为文,以显母节行,命曰《霜哺遗音》。”一前一后的霜哺文本,成为见证明清两代袁氏孝子孺慕寡母节行之双璧。笔者将以明末的“霜哺”文本之画像设计、文学生态、颂扬重心为参照,细绎盛清一幅稀珍手卷——《袁氏贞节堂画像文翰》的生成过程,探究《韩孺人(袁节妇)小影》的塑形,于明清女性画像的流行风尚中,如何杜绝容色的观看。再者,追索卷中14种多样性文体,在记事/载言的散体表彰、感性褒崇的韵体吟诵、浓郁的哀悯情致与空间感置入等众声叠合而成的抒情复调。
“Frost-Breeding ” the word, the image of the meaning of the section as the operation of the cream frost widow to nurture young children adults. Yuan Jun, Wuzhong son of the late Ming Dynasty, begged poems for the mother of the mother and father, and Chen Jiru named the poetry confluence as “Cream Breast.” About a century and a half later, Qianling’s lonely Yuan Tingtao also made use of his ancestors to write special collections of poems and poems for the festival. Sun Xingyan said: “When begging the worldly gentlemen to write articles, Frost feeding sound ”.“ Cream one after another milk texts, witnessed the Ming and Qing dynasties dutiful son widowed mother and daughter of two pairs. The author will take the late Ming ”frost “ textual portraits design, literary ecology, praising the center of gravity as a reference, detailed interpretation of a rare hand scroll - ”Yuan’s Chastity Hall portrait of Han“ generation process, explore the ” Han dynasty (Yuan Jie Fu) small shadow "shape, in the Ming and Qing Dynasties female portraits of the popular style, how to put an end to the color of the viewing. In addition, the 14 kinds of cultural diversity in the recalled volumes are formed by the congregation of numerous notes, such as the commendation of the notes / Lyric polyphonic.