【摘要】 渔父意象是中国传统文化中一个突出的文化符号,其源头主要出自《楚辞·渔父》。柳宗元《江雪》将孤寂、荒寒、静穆结合,构筑了一个"寒江独钓"的境界,成功塑造了在孤傲中坚守的"另类"渔父形象。其萧条澹泊、荒寒简远的美学追求,代表了传统山水绘画的最高审美体验。在后世蔚为壮观的渔隐图中,"寒江独钓图"境界荒寒冷寂,渔父形象孤傲峭拔,不同于悠游闲适或自得其乐的渔父形象,为中国文学提供了一个经典的艺术原型。渔父形象参与了后世对屈原的理解和接受,成为对屈原精神人格的一种独特接受视角。更多还原

【Abstract】 Fisherman image is one of the outstanding cultural symbol in traditional Chinese culture,deriving from The Songs of Chu· Fisherman."Jiang Xue"by Liu Zongyuan is a combination of loneliness,bleakness and solemnness,which builds realm of"Fishing from the Cold River", and successfully shapes a"weird"fisherman insisting on proud loneliness. The production’s aesthetic pursuit of depression and cold represents the highest aesthetic experience of traditional landscape painting.The realm of"Fisherman from the Cold River Map"is cold and quiet and the fisherman image is proud and sternness,which are different from leisurely and pleasurable fisherman in the later spectacular fisherman seclusion of scenery,providing a classical art prototype for Chinese literature. Fisherman image contributes to the later apprehension and reception for Qu Yuan and becomes a kind of special recipient perspective of Qu Yuan’s mental character.更多还原