浅论“词画相通”——柳永词的画法运用
On “Ci-Picture Interlinked”- The Application of Liu Yong Ci's Painting Method
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초록
中国各类文艺之间互有关系，诗歌与绘画也是如此。既存有关诗画两者关系的论述不少，而相比之下，对于词与画的关系，却为前人所罕言。本文以柳永词为对象，从设色、点染、钩勒三个方面考察，其词中所采用的这些画法与词法如何融合，增添各种歌词效果，由此窥见词画相通之面貌。首先，柳词通过设色，烘托对象、带来美感，且借色彩来寄托感情，营造情调。其次，柳词通过点染，将情语与景语交织在一起，从而含蓄地表达感情，留下了无穷余味。最后，柳词通过钩勒，畅达文脉，传达深情。词与画同属于艺术的范畴，具有一定的共性。词人往往将画法融入到歌词创作中，由此得到词境的深化。
Abstract
All kinds of Chinese literature and art are related to each other, so are poetry and painting. There are many discussions on the relationship between poetry and painting, but the relationship between Ci and painting is relatively rarely mentioned by predecessors. Taking Liu Yong's Ci as an object, this paper studies how the painting methods used in Liu Yong's Ci integrate with the method of Ci writing and add various lyric effects, so as to see the similarities between Ci and painting. First of all, Liu Yong's Ci sets off objects and brings aesthetic feeling by setting colors, and uses colors to express feelings and create emotional appeal. Secondly, Liu Yong's Ci interweaves emotion language and scenery language through point dyeing, so as to express emotion implicitly and leave endless aftertaste. Finally, Liu Yong's Ci expresses his deep feelings by outlining the context. Both Ci and painting belong to the category of art and have certain commonalities. Ci poets often integrate the painting into the creation of Ci, thus deepening the Ci poetry mood.
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