God,Fairy,Woman -- the transition of Nymph of Luoshen in literature and painting works

• 영문명: God,Fairy,Woman -- the transition of Nymph of Luoshen in literature and painting works
• 발행기관: Korea Institute for Humanities and Social Sciences(KIHSS)
• 저자명: 刘扬(Yang LIU)
• 간행물 정보: 『Journal of Global Arts Studies (JGAS)』Vol.2, No.1, 135~147쪽, 전체 13쪽
• 주제분류: 인문학 > 기타인문학
• 파일형태: PDF
• 발행일자: 2024.03.30

국문 초록

【背景】洛神在中国文学和美术作品中都占据特殊地位，自古以来为文人雅士所钟爱。 【目的】研究者通过分析洛神形象的图像和内涵，尝试赏析洛神意象在历史上的融合转变。 【方法】通过查找文献、书画和博物馆藏品实物，比较研究洛神在文献中的和绘画作品中的变迁。 【结果】可发现洛神意象经历了三次融合转变：洛神原是洛水之神，河神配偶，而宓妃为伏羲之女。西汉时洛神、宓妃二位女神融为一体，洛神名为宓妃，执掌洛水的水神。后来神女洛神与现实中的甄妃融合，洛神由神转仙，成为文人心中的幻想情人和寄托情感的对象。明清时期仕女画的兴起，又削减了洛神的女仙属性，向世俗美人转变。 【结论】三次融合转变中，她的神性和职责不断被削弱，实现了从神到仙到人的转变。前两次转变主要存在于文学作品中，第三次转变则反映在图像上。洛神意象在绘画作品中晚于文学出现，其文学和绘画形象交相辉映，二者相互促进、相互影响，共同构成洛神意象。

영문 초록

[Background] Luoshen occupies a special position in Chinese literature and fine arts, and has been loved by literati since ancient times. [Objective]By analyzing the image and connotation of Luoshen image, researchers try to appreciate the fusion and transformation of Luoshen image in history. [Method] By searching documents, paintings and paintings and objects in museum collections, the changes of Luoshen in documents and paintings were compared and studied. [Results]It can be found that the image of Luoshen has undergone three fusion changes: Luoshen was originally the god of Luoshui, the consort of the river God, and Mi Fei was the daughter of Fuxi. Western Han Luo God, Mi Fei two goddesses integrated, Luo God named Mi Fei, the water god in charge of Luoshui. Later, the goddess of Luoshen merged with Zhen Fei in reality, and Luoshen changed from God to fairy, becoming the fantasy lover and the object of affection in the hearts of scholars. The rise of beautiful female painting in Ming and Qing dynasties reduced the goddess of Luoshen's feminine attributes and transformed into a secular beauty. [Conclusion]In the three conversions, her divinity and duties were continuously weakened, and she realized the transformation from God to fairy to human. The first two transformations exist mainly in literary works, while the third is reflected in images. The image of Luoshen appeared later than literature in painting works. The images of Luoshen in literature and painting complement each other. The two promote and influence each other to form Luoshen image together.

목차

1 引言

2 洛神源起与意象确立

3 洛神意象的广泛传播：《洛神赋》与《洛神赋图》

4 洛神意象的融合与转变：从水神到女仙

5 洛神图像的世俗化、人性化

6 结论

参考文献

키워드

洛神意象 文学 绘画 变迁 Nymph of Luoshen Literature Paintings transition