CAJ | 학술논문

审美意象是作家精神的符号和标志。屈原与柳宗元“骚怨”意象的主要差异，一是意象选择从神奇瑰丽转向世俗怪异，二是意象表达由连类比兴变为整体象征和寓言，三是意象关系由主客融合转向部分反常乖离。造成这种差异的客体原因主要是时代、环境和风俗的变化以及历史审美风尚的变迁；而主体原因则主要是屈、柳神秘思维与理性思维的不同建构。透过两者的差异及其成因，可以更好地把握屈、柳“骚怨”精神的个性特点。
심미의상시작가정신적부호화표지。굴원여류종원“소원”의상적주요차이，일시의상선택종신기괴려전향세속괴이，이시의상표체유련류비흥변위정체상정화우언，삼시의상관계유주객융합전향부분반상괴리。조성저충차이적객체원인주요시시대、배경화풍속적변화이급역사심미풍상적변천；이주체원인칙주요시굴、류신비사유여이성사유적불동건구。투과량자적차이급기성인，가이경호지파악굴、류“소원”정신적개성특점。
Aesthetic image is a symbol of writer’s spirit. The differences in Qu Yuan and Liu Zongyuan’s“Resentment” images include: the choice of image is turned from magnificent to secular weird; the expression of image is turned from metaphor and analogy to a whole symbol and allegory, the relationship between images turned from subjective and objective fusion to anomalous deviation. The objective reasons are mainly the change of era, environment and custom and vary of aesthetic tide of history. The subjective reason lies in the differences in constitution of Qu Yuan and Liu Zongyuan’s mysterious and rational thinking. Through analyzing the differences and reasons, the personalities of Qu Yuan and Liu Zongyuan’s“Resentment”can be understood better.