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在我国早期的神话背景下,屈原的代表作《离骚》和《天问》中就提到了洛神,也就是宓妃,这似乎只是一个淡远的影子而已,在别的时期很少有记载。但是,在魏晋时期,洛神的再次出现受到了书法、绘画、美术界等的关注。其中最为突出的是曹植的《洛神赋》、晋明帝和顾恺之所画的《洛神赋图》,王羲之父子也写了数十本《洛神赋》,许多的学者沉迷于女神的形象中,对魏晋时期的美学思想产生了重大的影响。
In the early mythological background of our country, Luo Yuanxu, also known as Luo Fei, is mentioned in Qu Yuan’s masterpieces, “Li Sao” and “Tian Wen”. This seems to be only a distant shadow and is rarely recorded in any other period. However, in the Wei and Jin dynasties, the reappearance of Luo Shen received the attention of calligraphy, painting, art circle and so on. The most prominent ones are Cao Zhi’s “Luo Shen Fu”, Jin Mingdi and Gu Kaizhi “Luo Fu Fu Tu”, Wang Xizhi’s father and son also wrote dozens of “Luo Shen Fu”, many scholars indulge in the image of the goddess, Wei The aesthetic thoughts in the Jin Dynasty had a significant impact.