毕业论文-浅析《诗经》女性外貌描写的特征.docx

浅析诗经女性外貌描写的特征摘 要：人物的“外貌”包括人物的音容、笑貌、服饰、体态、风度和神韵等等，是作家在塑造人物形象时的重要手段之一。诗经中塑造了众多的女性角色，对女性外貌描写不局限于正面描摹,出现了侧面烘托的手法，表现出了其独特的技巧，对后世作家塑造人物形象产生了巨大影响。本文主要研究诗经在女性外貌描写（包括直接描写和间接描写）中表现出的显著特征。关键词：诗经；女性；外貌描写The features of “The book of songs”in appearance description ofFemaleAbstract:Including a character voice, smile, clothing, posture, grace and charm and so on, the appearance of figures is one of the important ways writers in shaping the characters. Creating many female characters, the appearance description of female in “the book of songs is not limited to the description of the positive, also appeared indirect description , demonstrating its unique skills, and exerting great influence on the later writers create characters. This paper mainly studies the significant features of the book of songs in the female appearance description (including direct and indirect description).Key words:“The book of songs”;female;appearance description;前 言诗经是我国第一部诗歌总集，奠定了我国文学创作的基础，对我国后世诗歌乃至整个文学创作都起到了重要的典范作用。诗经是中国女性美的源头”，其中塑造了的许许多多魅力无穷，栩栩如生的女性人物形象。在对于女性人物形象的刻画上，技艺精湛，方式多样，展现出了惊人的技巧，不论是直接的外貌描写，还是间接的侧面烘托，对于展现人物的性格特征和思想感情均起到了重要的作用，特别是赋、比、兴手法的运用，对后世文学创作产生了至关重要的影响。本文主要研究诗经在塑造女性形象时所采用的直接描摹、环境烘托、比喻等手法以及在运用这些手法时所展现出的实用性、真实性特征和以“素”为美的价值观等。 一、形态描写表现出的“实用性”审美特征。总体而言，诗经中对女性外貌的描写主要是通过间接描写来展现的，当然也不排除对女性外貌的直接描写。在对女性外貌进行直接描写时，往往非常简单，通常只是用评论性的形容词对一个人做总体的评述,而在这种评述中，女性形体美是其着墨最浓、赞美最多之所在。诗经中有大量直接描写女性形体美的词语或诗句,比如词:“妾”、“妹”、“媚”、“美”、“清扬”、“窈窕”等;又如诗句:“有美一人”(郑风野有蔓草)、“美目盼兮”(卫风硕人)、“彼美淑姬”(陈风东门之池)、“静女其妹”“静女其妾”(邺风静女)、“美人之贻”(邺风静女)、“子之清扬,扬且之颜也”(郁风君子偕老)、“窈窕淑女,君子好述”(周南关唯)等，而在诗经中描写女性体态的词语出现频率最多的又多是“硕”、“笃”、“颀”、“敖”等，这些词语的共同特征是高大健壮。如唐风掓聊：“彼其之子，硕大无朋“、“彼其之子，硕大且笃”，卫风硕人：“硕人其颀”，“硕人敖敖”，陈风泽陂：“有美一人，硕大且卷”，“有美一人，硕大且俨”，齐风猗嗟“猗嗟昌兮，颀而长兮!”笃，指健壮，颀，指身材修长，敖，指身材高大。这些都是赞美女性体态既高大又健壮的。由此看，诗经中的女性审美标准，以身材高大、修长、健壮为美。因此诗经中少有纤细娇小的女性。（当然也有例外，如陈风月出所描绘的女子身材之窈窕纤细,十分罕见。）诗经记载的主要是西周初叶到春秋中叶的诗歌，当时的社会生产力无比底下，因此 只有健康健壮的女性才能很好地劳作与生存，也才能更好的繁衍后代，因此，诗经中表现出的这种以健壮、高大为美和注重外在出身的价值取向是为了更好地生存，反应了人们当时的社会需求，是带有强烈的功利性、实用性的，所以我们说诗经在女性外貌描写上表现出了实用性的审美特征。二、色彩描写中的以“素“为美的审美观。当然，诗经中除了实用性审美特征外还表现出了其他的审美价值观。诗经在刻画女性形象时，很少出现如“宫体诗”般华美而绮丽的词语。相反，朴素、自然的修饰是其最重要的选择，以此来展示女子的端庄典雅。因此在诗经中对女性外貌的色彩描写,具有明显的以“素”为美的倾向，这种倾向主要表现在美女肤色、服饰以及妆容上。就肤色而言，诗经中的女子以“白”为美，以“白”为尊。卫风硕人是一首著名的描写美人的诗歌，诗歌中对女主人公庄姜的美貌做了详细的描写:“手如柔黄,肤如凝脂,领如蜡挤,齿如瓤犀。”庄姜的手指如柔荑般洁白纤细,如同初生的白茅草芽。皮肤白净滑腻,犹如凝结的脂肪。项颈既长且白,好象天牛的幼虫。牙齿洁白方正,恰似排列整齐的葫芦。庄姜这位流传千古的大美人，人们在对其进行外貌描写时，采用了连续四个比喻，分别对其手、肤、领、齿做了形象的介绍，构成了一副清秀、素淡的美人图，充分证明了当时以“白”为美的审美观。“东方之日兮，彼姝者子，在我室兮。在我室兮，履我即兮。东方之月兮，彼姝者子，在我闼兮。在我闼兮，履我发兮。”（齐风东方之日“月出皎兮，佼人僚兮。舒窈纠兮，劳心悄兮。任浩之.国学常识全知道M：中国友谊出版公司，2010.343月出皓兮，佼人懰兮。舒懮受兮，劳心慅兮。蒋水荣选编. 情人眼里出西施 俗语故事荟萃 20. 杭州市：浙江文艺出版社, 1990.12.月出照兮，佼人燎兮。舒夭绍兮，劳心惨兮。”（国风陈风月出）这两首诗歌都是男子对其心爱女子形象的描述，所谓“情人眼里出西施”，在男子心中心爱的女子无疑是最美的，为了展示出这种美，二者都将女子与月亮联系在一起，甚至于我们可以说月亮就是其象征，自然而然，月亮的洁白无瑕便象征了女子的纯洁淡雅。这正是当时女子以“白”以“素”为美的表现。国风鄘风君子偕老也能充分证明当时女子以“白”为美、以“白”为尊的现象。这是一首赞美贵妇人的诗歌，诗歌对其尊贵美丽做了以下描写：“玉之瑱也，象之挮也，扬且之皙。胡然而天也？胡然而帝也？”这位贵夫人耳垂白玉,头上插着象牙发钗,额头白净,皮肤白皙,简直像位天神上帝。无论是首饰、妆容或者皮肤，这位贵妇人处处突出一个“白”字，处处展现以“素”为美的价值取向。这种以“素”为美的观点还表现在女子服饰上。就服饰而言，诗经中女性无论何种身份或无论在什么样的场合总是衣着淡雅。首先在女子平日交往中多着素服。“出其东门，有女如云。虽则如云，匪我思存。缟衣綦巾，聊乐我员。出其闉闍，有女如荼。虽则如荼，匪我思且。缟衣茹藘，聊可与娱。”（郑风出其东门）这是一首情诗，表达了男子对其意中人的专一。诗中对女性的描述“有女如云”、“有女如茶（茶指白色的茅花）”作为千古名句流传至今，那么，所谓“有女如云、有女如茶”究竟从何说起呢？我们首先要从女性的穿着说起，诗中女性的穿着是“缟衣綦巾，缟衣茹藘。”“缟衣”，白绢衣裙,“纂巾”，绿色佩巾。诗中两次出现“缟衣”一词,表明女子穿的是白色服装。一群穿着素绢衣服的女子,远远望去一大片白色,犹如盛开的茅花,又如天上的白云，所以称“有女如茶”、“有女如云”。从出其东门我们可以看到在当时女子着白是一种非常普遍的现象。与后世着红不同，当时在婚庆场合中女子也常着素。如郑风丰女子对于自己的婚嫁场面做了想象，诗中写道:“衣锦纲衣,裳锦绸裳,叔兮伯兮,驾予与行。”叔、伯,均是对同辈的称呼,即弟弟、哥哥,诗中指女子的情人。她希望自己能够穿上新婚礼服,和意中人乘车同去。新婚礼服外层是麻纱罩衫,露出的是纯白色。女主人公期待自己身著素衣出嫁,展示的是想象中的画面,不是实际存在的场景。但是,她的想象却是以现实为基础,由此可见当时女子身著素衣出嫁的画面在日常生活中是经常可以见到的,是当时流行的习俗。即使是贵族女性在出嫁时也是如此。卫风硕人中对主人公展示的庄姜新婚礼服是素衣在外,“衣锦纲衣”,锦衣外面有麻衫罩衫。与此同时,诗中还有“庶姜孽孽”的句子。庶姜,指齐国陪嫁的众多姜姓女子。毛传:“孽孽,盛饰。”陪嫁的女子衣饰华丽,和身著素服的庄姜形成鲜明的对照。大雅韩奕在描写娶亲时,也展现了类似的场面。诗中写道:“韩侯迎止,于跃之里。百两彭彭,八莺锵锵,不显其光。诸娣从之,祁祁如云。韩侯顾之,烂其盈门。”韩侯所娶是跃父的女儿,诸娣指陪嫁为妾的众女。诗中对韩侯之妻没有正面描写,对于陪嫁的众女却大肆渲染。“祁祁如云”,是说陪嫁的女子众多,而且聚集在一起。“烂其盈门”,则是说陪嫁的众女子服饰艳丽,满门生辉。陪嫁的女子比正妻打扮得鲜艳,正妻素服淡妆,她们却花枝招展,二者有素淡与浓艳之别。有充分理由怀疑,当时女子着服是以“素 ”为尊，以“素”为美的。 三、具体场景烘托中人物的真实性与具体可感性。诗经中刻画人物形象除了直接描摹外，更重要的是具体环境的侧面烘托。这样一种描写方式有其独特的特点。诗经中描写的女子多是现实存在的劳动妇女或贵族妇女。如卫风氓中的弃妇、周南葛覃中的归宁女、卫风硕人中的庄姜、卷耳中采摘卷耳的思妇、大车中的痴情女子等等，这些女性形象都是现实中普遍存在的。作者在对其进行描述时，并未做过多的直接具体的外貌描写，而是将人物置身于特定的现实活动中，如采桑（卫风氓）、采繁（国风召南采蘩）、采蘋（国风召南采蘋）、放牧（小雅无羊）、春社相会（郑风溱洧）或出嫁（卫风硕人）中，像电影镜头一般，给予了读者充分的想象空间，人物的音容笑貌、体态神韵自然呈现，显得真实而具体，具有可感性。如周南芣苢“采采芣苢，薄言采之。采采芣苢，薄言有之。采采芣苢，薄言掇之。采采芣苢，薄言捋之。采采芣苢，薄言袺之。采采芣苢，薄言襭之。”这首诗描写了一群在田野里采芣苢的农家姑娘，作者并未对正在劳动的女性外貌体态如何做具体详尽的描写，而是从侧面，在一副真切动人的劳动场景中，给我们无限的想象空间，将那群劳动女性的音容笑貌乃至神韵体态自然而然的呈现在我们读者眼前。再如，国风周南卷耳“采采卷耳，不盈顷筐。嗟我怀人，寘彼周行。陟彼崔嵬，我马虺隤。我姑酌彼金罍，维以不永怀。陟彼高冈，我马玄黄。我姑酌彼兕觥，维以不永伤。陟彼砠矣，我马瘏矣！我仆痡矣，云何吁矣。”卷耳是一篇抒写怀人情感的名作，历来被人们所称颂。诗中塑造了一个典型的思妇形象，表现的是思妇对丈夫久征不归的忧愁。作者并未对思妇的外貌以及装扮做详细的介绍，但当我们读完全诗，我们眼前仿佛浮现出那位思妇的样子：消瘦的身形，紧皱的眉头、哀伤的神情，萦绕着久久不散的叹息，女子的体态神韵等等自然而然的展现出来。这正是这首诗的绝妙之所在。作者对思妇的外貌并不做详细的介绍，而是将其置身于采摘卷耳这一普通劳作场景中，一采三叹，一采三思，故而终究是“不盈顷筐”。通过女主人公的动作，让我们自然而然的想象出她的样子，既朦胧又真实。因此，我们说诗经中的女性外貌描写大多是采用侧面烘托的方式，呈给读者一种真实和谐感，这种在具体场景中的女性形象也显得清新自然，即“天然去雕饰”之美。四、人物外貌描写常用比喻诗经中另外一种重要的艺术描摹手法是赋、比、兴，在对女性进行外貌描写时也是如此，特别是“比喻”在对女子进行更好的外貌描写时起到了巨大的作用。诗经中有许多以物来形容女子外貌的句子，比喻形式多样。最常见的是以花做喻。如“桃之夭夭,灼灼其华。之子于归,宜其室家。桃之夭夭,有蕡其实。之子于归,宜其家室。桃之夭夭,其叶蓁蓁。之子于归,宜其家人。”（周南桃夭）以盛开的鲜艳桃花来比喻这位新婚女子的美丽相貌和娇羞的神情，将女子新婚时的娇羞神态现货生动形象的表现了出来。“有女同车,颜如舜华(英)。”（郑风有女同车）用木槿花的娇艳美丽比喻展现同车女美妙的容颜。“出其东门,有女如荼。”（郑风出其东门）以美丽盛开的白茅花比喻东门外众多女子的容颜美好。以草木比喻女子,在诗经中也很常见，下面略句几例“静女其娈,贻我彤管。彤管有炜,说怿女美。自牧归荑,洵美目异。”（邶风静女）“手如柔荑”（卫风硕人）这两首诗歌都是将茅荑之比喻女子，展现其容颜的娇嫩和体态的柔美。“彼泽之陂，有蒲与荷。有美一人，伤如之何！寤寐无为，涕泗滂沱”（陈风泽陂）以荷花的娇嫩艳丽来比喻女子的美貌。又如对女子身体部位或者气质神韵的比喻:“自伯之东，首如飞蓬”（卫风伯兮）以“飞蓬”喻女子之发。冯其庸著. 冯其庸文集 第5卷 剪烛集. 青岛市：青岛出版社, 2012.01.“鬓发如云 胡然而天也,胡然而帝也! （鄘风君子偕老）以云比喻女子的鬓发。“月出皎兮,佼人僚兮 月出皓兮,佼人 兮 月出照兮,佼人燎兮。”（陈风月出）以月亮比喻女子的纯洁淡雅的神韵气质。这些比喻形式多样，本体与喻体不尽相同，但都有一个共同特征：生动形象完整地展现女性的美。正是因为这些比喻的出现，才使得诗经中女子外貌特征更加突出，女子形象更加的鲜明，对后世人们刻画人物形象提供了优秀的典范，对后世文学产生了巨大的影响。结语：总之，诗经在描写女性外貌时，形式是多样的。有时是直接的外貌描摹，如对女性形态的评述，对女子肤色、头发、五官等的描写；有时是间接描写，如用具体现实环境烘托，或者比兴的手法；甚至于二者相互结合；无论是直接描写、间接描写或者二者相结合，都表现出了自己独特高超的写作技巧，展现出了自身独特的特点，对后世文学的发展产生了巨大的影响。参考文献：1 张志群.诗经和楚辞中的女性形象比较J.绥化学院学报.2006(04).2李炳海.诗经女性色彩描写J.江西社会科学.1994(06).3张辉.探析诗经女性形象的审美价值J.金田（励志）.2012(09).4 罗高兴.诗经中女性美的表现J.科教文汇（中旬刊）.2009(11).5 杨小红.诗经中女性的常见比喻及其文化意蕴J.湖南工业职业技术学院学报.2010(05).6陈珂.诗经与楚辞中女性形象之比较J.赤峰学院学报.2012(01).为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs, Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in. For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root, he says. Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled. The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the only life worth living. I agree with him. This essay was written during a time of social upheaval in America, and it is rather odd that Emerson authored it, as he was a part of the upper crust of society at the time. It just so happened that he looked around him, at the indolence and the wantonness of the people in his circle; he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his excommunication fro