The Relationship between Words and Images Represented in The Goddess of the Lo River in the Liaoning Provincial Museum
Journal
國立臺灣大學美術史研究集刊
Journal Issue
23
Pages
1-50+199
Date Issued
2007-09
Date
2007-09
Author(s)
Abstract
Focusing on the relationship between words and images, this paper is an analytical reading of the Liaoning version of The Goddess of the Lo River (Luoshen fu tu), which illustrates the prose-poem by the same title by Cao Zhi (192-232). The prose-poem tells about a brief and sad love story between the poet and the Goddess, and is noted for its beautiful imagery and musical quality. The scroll, a mid-eleventh century copy of a late
sixth century original, skillfully translates the aesthetic quality of the prose-poem by various pictorial devices. In a continuous composition, the scroll represents the story in five movements: “The First Encounter,” “Love Promised,” “Change of Mind,”“Separation,” and “Returning Home.” Curves are the primary aesthetic principle, which dominates forms as well as figure groupings, aiming at creating rich rhythmic visual movements for the painting. The subtle verbal implications of the prose-poem are pictorially rendered by literal, metaphorical, suggestive and symbolic representational devices. The full text of the prose-poem is copied in many sections of varied length to link, as well as to separate, figures and landscape elements in different scenes and movements. Those script in sections describe their nearby figures’ movements and their inner feeling, and thus, create an intimate relationship between words and images of the painting, a special device which characterizes the Liaoning version of The Goddess of the Lo River.
Subjects
曹植
洛神
洛神賦
洛神賦圖
遼寧本洛神賦圖
繪畫的音樂性
繪畫與文學
敘事畫
故事畫
圖像與文字
六世紀繪畫
Cao Zhi
Luoshen
Luoshen fu
Luoshen fu tu
musicality in painting
literature and painting
words and images
narrative painting
sixthcentury painting
Type
journal article
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