论上古至魏晋的洛神形象及其流变 摘要：自上古至魏晋南北朝，洛神形象经历了各种文学变形而在不同时期呈现出独特的面貌，同时又具有一定的阶段性特征。上古神话作为洛神神话的温床，虽和洛神没有直接联系，但却借助交媾致雨的原始宗教观念及其巫术仪式赋予了洛神性爱女神的象征含义，促使了洛神原型的产生。直到战国屈原在《天问》中首次明确描写了洛神，其模糊不清的初始印象才被打破，成为一个带有否定意味的神灵符号。曹植有感于宋玉的《神女赋》创作出了经典的《洛神赋》，在很大程度上扭转了人们对宓妃的看法，宓妃自此成为一个容颜绝美、气质超凡、通晓人性、真实可人、遵守礼法又重情专一的爱与美神的代表，成为后世争相引用的文学理想形态。而顾恺之《洛神赋图》又从绘画与文学相结合的角度，勾画出了一段凄美的人神恋故事，再次拔高了洛神的艺术地位。接着，南北朝的文人便将这种对宓妃的青睐发酵到了淋漓尽致的程度，洛神因此不断迸发着生命与活力。关键词：神女,原型,美貌,性爱,屈原,曹植ON THE IMAGE OF LUOSHEN FROM ANCIENT TIMES TO WEI AND JIN DYNASTIES AND ITS EVOLUTIONAbstract: From the ancient times to the Wei, Jin, Southern and Northern Dynasties, the image of Luo Shen experienced various literary distortions ,presenting a unique appearance in different periods, and at the same time had certain stage characteristics. As a hotbed of the mythology of Luoshen, the ancient mythology, although not directly related to Luoshen, but with the original religious concept of the rain and its witchcraft rituals endowed the symbolic meaning of the sexual love, and promoted the prototype of Luoshen. It was not until the Warring States Qu Yuan clearly described Luo Shen for the first time in "Tian Wen", whose vague initial impression was broken and became a symbol of the god with a negative meaning. Inspired by Song Yu’s "Goddess Fu" ,Cao Zhi created the classic "Luo Shen Fu", which largely reversed people's views on Luo Shen. Since then, Since then, she has become a represe...
