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中南大学学报(社会科学版)
ZHONGNAN DAXUE XUEBAO(SHEHUI KEXUE BAN)

2016年12月第22卷第6期
   
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文章编号:1672-3104(2016)06-0179-05
 
词史上的“钩勒”说探源
 
杜庆英
 
(南开大学文学院,天津,300071)
 
摘  要: 词史上的“钩勒”说源于对其他艺术批评概念的借鉴。学界对“钩勒”的来源存在一定的误解。“钩”与“勒”原为书法中的笔法概念,皆出于“永字八法”。“钩勒”一词则代表了典型的书法笔势,后引入绘画,有“钩勒竹”之说。钩勒讲求笔锋与力度,凸显的是笔势,而并非简单的描画轮廓。晚清周济与陈洵之钩勒说具有丰富的笔法意义,实指词中章法的转折顿挫。况周颐论词有“钩勒”“勾勒”混用的情况。“钩勒”与“勾勒”在内涵上是不同的,须严格分辨。
 
关键词: 钩勒;勾勒;词学;周济;况周颐;陈洵
 
 
Research on the origin of “outline” of ci-poetry
 
DU Qingying
 
(School of Chinese Literature, Nankai University, Tianjin 300071, China)
 
Abstract: The “outline” of ci-poetry originates from the borrowing of other arts’ critical category, which yet has been misunderstood in the academia for a long time. “Outline” was originally a calligraphic concept which was conducted by “8 principles of Yong”. The “outline” symbolizes the typical handwriting and was later adopted by drawing such as “bamboo outline.” Instead of simple sketching, the “outline” of drawing emphasizes power and tip, embossing the trend of drawing. The “outline” theory of Zhou Ji and Chen Xun of late Qing Dynasty has abundant calligraphic significance, which actually means the turn and pause in poetry, while Kuang Zhouyi’ s “outline” theory is corresponding to its “weight, simplicity and scale”. The intermixed usage of “outline” and “sketching” shows the changing of meaning in today’s language environment.
 
Key words: outline; sketching; ci-poetics; Zhou Ji; Kuang Zhouyi; Chen Xun
 
 
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