张爱玲《心经》色彩意象发微
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摘要
纵观数十年来的张学研究,不难发现关于色彩意象的论著仍显不足。实际上,张爱玲对色彩意象的铺排和掌控能力是卓绝的。在《心经》中,张氏苦心孤诣,不仅构建了一个融汇中华民族传统色彩文化隐喻与女性人物性格命运伏线的多元色彩意象空间,而且营造了一个涵映女性主体性表达与病性超越的禅趣境界。通由对《心经》文本空间中双重禅心结构的分析,既可察知张氏对女性独立人格发展趋向的哲人忧思,又可觑见其对般若空观的禅意体悟,更可探寻其对潜在自我的阶段性认知及病性超越之脉络。可以说,《心经》色彩意象的多元表达正是张爱玲般若美学准确、丰富而生动的体现。
In retrospect of the literature review and research on Eileen Chang's works over the past decades,it can be easily found that few of them have probed into the color images in her masterpieces. Fundamentally speaking,Chang has proved her proficiency in laying out and mastering the color images. In The Heart Sutra,Chang has made a notable achievement to create a space of multifarious colorful imageries featuring the metaphors of the traditional color culture of the Chinese nation and the suspense of the personalities and destinies of female characters. She also built a Zen color space incorporating the perspectives of female subjectivity expressions,transcendence suffering and a Prajna view. By analyzing the dual Zen-mind structure in the text space of The Heart Sutra,we can see Chang's philosophical concerns for the developmental trend of women's independent personality. We can also see her Zen insights into the Prajna view and her potential phased personal cognitions on transcendence suffering. It can be said that the multifarious Zen colorful imageries have accurately,copiously,vividly embodied the Prajna ideological aesthetic form of Eileen Chang.
In retrospect of the literature review and research on Eileen Chang's works over the past decades,it can be easily found that few of them have probed into the color images in her masterpieces. Fundamentally speaking,Chang has proved her proficiency in laying out and mastering the color images. In The Heart Sutra,Chang has made a notable achievement to create a space of multifarious colorful imageries featuring the metaphors of the traditional color culture of the Chinese nation and the suspense of the personalities and destinies of female characters. She also built a Zen color space incorporating the perspectives of female subjectivity expressions,transcendence suffering and a Prajna view. By analyzing the dual Zen-mind structure in the text space of The Heart Sutra,we can see Chang's philosophical concerns for the developmental trend of women's independent personality. We can also see her Zen insights into the Prajna view and her potential phased personal cognitions on transcendence suffering. It can be said that the multifarious Zen colorful imageries have accurately,copiously,vividly embodied the Prajna ideological aesthetic form of Eileen Chang.
引文
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[2]桑岛由美子.張愛玲における審美観—欧亜モダニティをめぐって—[J].言語と文化,2011,25:59-61.
[3]黄擎,杨艳.传奇的回旋叙事与张爱玲的反线性发展观[J].浙江大学学报:人文社会科学版,2018(3):182-192.
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[7]赵静.色彩からみる「伝奇」の蒼涼性—「緑」系統を中心に—[J].野草,2002,69:80-81.
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[14]张爱玲.张爱玲·倾城之恋:一九四三年短篇小说集一[M].台湾:皇冠文化出版社,2016.
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[18]张爱玲.张爱玲典藏3色·戒[M].台湾:皇冠文化出版社,2010:185.
[19]张爱玲.张爱玲典藏7怨女[M].台湾:皇冠文化出版社,2010.
[20]张爱玲.张爱玲典藏2红玫瑰与白玫瑰[M].台湾:皇冠文化出版社,2010:130.
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[24]財団法人日本色彩研究所.日中韓常用色名小事典[M].日本:凸版印刷株式会社,2007:29.
[25]中国社会科学院语言研究所词典编辑室.现代汉语词典[M].第五版.北京:商务印书馆,2005:1331.
[26]顾蕾.張愛玲と林芙美子の比較研究:作品における母娘関係[D].日本:名古屋大学国際言語文化研究科,2005.
[27]Jennifer Olsen. The Effect of Color on Conscious and Unconscious Cognition[J]. Research Showcase@CMU,2010(2)
[28]杨韵.张爱玲「沈香屑·第一炉香」小論—衣装から読む女性像—[J].多元文化,2017(17):80.
[29]杨韵.简析张爱玲《沉香屑·第一炉香》中的女性人物形象——以环境描写为中心[J].广州大学学报,2017(7):95.
[30]袁恩培,何明.色彩意象论[M].重庆:重庆大学出版社,2011:31-33.
[31](汉)班固.汉书[M].北京:中华书局,2007:227.
[32]周丽芳,吕英军.投射性认同对健全人格形成的意义[J].求索,2002(12):99.
[33]滨田真由美.森鸥外「舞姫」試論—「白」と「黒」そして「灰色」をめぐる経緯—[J].同志社国文学,2004(60):43-44.
[34]滨畑纪.色彩生理心理学[M].日本:黎明書房,1989.
[35]刘菲.魯迅作品における色彩表現[D].日本:熊本大学,2009:32.
[36]万燕.海上花开又花落——读解张爱玲[M].南昌:百花洲文艺出版社,1996:66.
[37]赵振强.心经四宗注疏研究[M].北京:宗教文化出版社,1989:20.
[38]王文娟.对禅之理解及禅宗色彩观在文人画中的“自行呈现[J].人文杂志,2008(6):121.
[39]李霞,李霜燕,王丹.中华色彩意象文化的变迁与思考[J].江西社会科学,2015(6):241.
[2]桑岛由美子.張愛玲における審美観—欧亜モダニティをめぐって—[J].言語と文化,2011,25:59-61.
[3]黄擎,杨艳.传奇的回旋叙事与张爱玲的反线性发展观[J].浙江大学学报:人文社会科学版,2018(3):182-192.
[4]邵迎建.伝奇文学と流言人生:一九四〇年代上海·張愛玲の文学[M].日本:御茶の水書房,2002.
[5]李欧梵.苍凉与世故[M].北京:人民文学出版社,2010.
[6]池上贞子.張愛玲愛と生と文学[M].日本:東方書房,2011.
[7]赵静.色彩からみる「伝奇」の蒼涼性—「緑」系統を中心に—[J].野草,2002,69:80-81.
[8]刘柯.论张爱玲小说中的色彩意象[D].苏州大学,2006.
[9]赵京立.张爱玲小说中的色彩意象[J].天津职业院校联合学报,2007(4):122-126.
[10]徐丽燕.论张爱玲小说中的色彩意象[J].宁波教育学院学报,2013(2):55-56.
[11][法]丹纳.艺术哲学[M].傅雷,译.合肥:安徽文艺出版社,1992:509.
[12]张爱玲.张爱玲·华丽缘一九四〇年代散文集一[M].台湾:皇冠文化出版社,2010.
[13]许子东.郁达夫·张爱玲·香港文学卷二[M].北京:人民文学出版社,2011:77.
[14]张爱玲.张爱玲·倾城之恋:一九四三年短篇小说集一[M].台湾:皇冠文化出版社,2016.
[15]黄倩.张爱玲的以色传情[N].北京:中华读书报,2011-09-21.
[16]张爱玲.张爱玲典藏13对照记[M].台湾:皇冠文化出版社,2010:8.
[17]陶方宣.霓裳·张爱玲[M].香港:三联书店,2009.
[18]张爱玲.张爱玲典藏3色·戒[M].台湾:皇冠文化出版社,2010:185.
[19]张爱玲.张爱玲典藏7怨女[M].台湾:皇冠文化出版社,2010.
[20]张爱玲.张爱玲典藏2红玫瑰与白玫瑰[M].台湾:皇冠文化出版社,2010:130.
[21]滕守尧.审美心理描述[M].成都:四川人民出版社,1998:53-54.
[22](明)唐寅.唐伯虎全集卷一[M].北京:北京市中国书店,1985:13.
[23]三浦宽三.色彩学概論[M].再訂版.日本:創文社,1980:113.
[24]財団法人日本色彩研究所.日中韓常用色名小事典[M].日本:凸版印刷株式会社,2007:29.
[25]中国社会科学院语言研究所词典编辑室.现代汉语词典[M].第五版.北京:商务印书馆,2005:1331.
[26]顾蕾.張愛玲と林芙美子の比較研究:作品における母娘関係[D].日本:名古屋大学国際言語文化研究科,2005.
[27]Jennifer Olsen. The Effect of Color on Conscious and Unconscious Cognition[J]. Research Showcase@CMU,2010(2)
[28]杨韵.张爱玲「沈香屑·第一炉香」小論—衣装から読む女性像—[J].多元文化,2017(17):80.
[29]杨韵.简析张爱玲《沉香屑·第一炉香》中的女性人物形象——以环境描写为中心[J].广州大学学报,2017(7):95.
[30]袁恩培,何明.色彩意象论[M].重庆:重庆大学出版社,2011:31-33.
[31](汉)班固.汉书[M].北京:中华书局,2007:227.
[32]周丽芳,吕英军.投射性认同对健全人格形成的意义[J].求索,2002(12):99.
[33]滨田真由美.森鸥外「舞姫」試論—「白」と「黒」そして「灰色」をめぐる経緯—[J].同志社国文学,2004(60):43-44.
[34]滨畑纪.色彩生理心理学[M].日本:黎明書房,1989.
[35]刘菲.魯迅作品における色彩表現[D].日本:熊本大学,2009:32.
[36]万燕.海上花开又花落——读解张爱玲[M].南昌:百花洲文艺出版社,1996:66.
[37]赵振强.心经四宗注疏研究[M].北京:宗教文化出版社,1989:20.
[38]王文娟.对禅之理解及禅宗色彩观在文人画中的“自行呈现[J].人文杂志,2008(6):121.
[39]李霞,李霜燕,王丹.中华色彩意象文化的变迁与思考[J].江西社会科学,2015(6):241.
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