- 期刊
From Text to Images: A Case Study of the Admonitions Scroll in the British Museum
從文字到圖像－探討大英本《女史箴》畫卷的圖文關係
摘要
本文主要探討傳顧愷之（約344－405）《女史箴圖》（大英博物館藏）的圖像與文本之間的關係。主要的議題包括：1.畫家如何將張華（232－300）所作〈女史箴〉原文轉譯成圖像；2.他如何利用圖像表現〈女史箴〉文中的儒家倫理概念。畫家將全文分為十二段，每段文字之左各配一段圖畫，形成一連串的單景式構圖。畫家採用直譯，隱喻，象徵，反諷，和諧音等技法將每段文字內涵轉譯成圖像；他以七段畫面宣揚自我犧牲、壓抑情感、謙和忍讓、和繁衍子孫等儒家婦德，而以三段畫面貶抑表面修儀、夫婦相疑、及冶容求好等行為；此外，他更利用人物大小比例及表情動作的差異，強調男尊女卑和上下階層的區別。總之，畫家運用淵博的知識及豐富的想像力，以圖畫巧妙地轉譯了〈女史箴〉一文的故事內容和微言大義。
並列摘要
Attributed to Ku K'ai-chih 顧愷之(c. A.D. 344-405), The Admonitions of the Instructress to Court Ladies (Nü-shih chen 女史箴) in the British Museum ilIustrates the text of the same title written by Chang Hua 張華(A.D. 232-300) in the voice of an instructress to advise Emperor Chia 賈后(d. A.D. 300) of her role as a virtuous court lady. This paper focuses on two issues regarding the text/image relationships of the scroll: First, how did the artist create the images for the corresponding text? Second, how does this painting represent the didactic meaning of the text? With three scenes missing from the beginning, the British Museum's Admonitions consists of nine scenes proceeding from right to left, each illustration following a passage of text in a sequence of monoscenic compositions. In order to convert the ”Admonitions” text into an interesting painting, the artist experimented with many translation strategies, including literal, metaphorical, and suggestive. He also exercised great imagination to convey Confucian values advocated in the text through his choices of subjects and representation of figures: throughout the entire scroll, the meritorious deeds and the virtues of women, such as self-sacrifice, emotional suppression, prudence, sincerity, and obedience, are emphasized and shown in seven scenes; while unacceptable behaviors and attitudes, including narcissism, speaking with evil intent, and seeking the love of a man, are denounced and represented sparingly in three scenes. Also, the hierarchy of Confucian ethics is revealed in the treatment of figural forms: the ruler and the ruled as well as the dominator and the dominated are clearly differentiated in their varied dresses, facial expressions, and body language.