摘要
作为唐代最具代表性的浪漫主义诗人,李白偏爱“玉”意象,并将其贯穿整个创作历程以及各种风格的作品之中。以李白诗歌中的“玉”意象为研究对象,围绕“玉与女性之美”“玉与士人困境”“玉与文辞之妙”三重维度进行分析。首先,指出李白在诗歌中延续《诗经》“有女如玉”的审美传统,以“玉颜”“玉箸”等意象塑造女性圣洁柔美形象;其次,结合儒家“玉德”观与唐代政治背景,诗人借“青蝇点玉”的视觉反差象征政治污浊与士人自洁困境;最后,溯源《文心雕龙》“珠玉”美学传统,通过将珠玉与文章类比,既强调文辞的雕琢之美,亦暗含对谗言遮蔽真言的批判。
As the most representative romantic poet of the Tang Dynasty,Li Bai favored the jade imagery and incorporated it throughout his creative career and across works of various styles.This study focuses on the jade imagery in Li Bai's poetry,analyzing it through three dimensions:“jade and feminine beauty”“jade and the plight of scholars”and“jade and the elegance of literary expression”.First,it points out that Li Bai continued the aesthetic tradition of“a maiden fair as jade”from the Book of Songs,using images such as“jade-like face”and“jade tears”to portray women's sacred and gentle beauty.Second,combining the Confucian concept of“jade virtue”with the political context of the Tang Dynasty,the poet employed the visual contrast of“Qingying Dianyu(flies besmirching jade)”to symbolize political corruption and scholars'struggle to maintain purity.Finally,tracing back to the“pearl and jade”aesthetic tradition in Wenxin Diaolong(The Literary Mind and the Carving of Dragons),it shows that Li Bai,by comparing pearls and jade to literary writing,not only emphasized the beauty of polished rhetoric but also implicitly criticized how slander obscures truth.
作者
杨雯靖
Yang Wenjing(School of Humanities,Chang'an University,Xi'an 710061)
出处
《西部学刊》
2025年第23期147-150,共4页
Journal of Western
关键词
李白诗歌
玉意象
视觉审美
Li Bai's poetry
jade imagery
visual aesthetics
