Abstract: Dante Rossetti as the central figure in the Pre-Raphaelite movement devotes his whole life to the double practice of poetry and painting, in which he explores their relationship. This paper holds that there is an obvious aesthetic feature of Anders-streben in Rossetti's works that his poetry extends into spatiality and his painting stretches out to temporality. On the one hand, Rossetti shows painting's potentiality of flowing toward time by three patterns from the explicit to the implicit: several paintings with the same theme, musicality and literary narrative. On the other hand, when it comes to word's flowing toward space, the artist not only simulates painting's physical space by poetry form's spaciousness, but also supplements mental space for the original painting by ekphrasis. Just as Lessing's idea of heterogeneity of poetry and painting represents a turn of the western tradition of Ut Pictura Poesis, Rossetti further finishes the negation of negation to the Ut Pictura Poesis tradition with mutual absorption of time and space between poetry and painting, gaining an understanding of them with spiral of escalation. Rossetti's arts become an writing out of Logocentrism in the process of rejecting the binary opposition, which manifests the Pre-Raphaelite's avant-garde by its unique taste of Anders-streben.

Key words: Dante Rossetti, poetry and painting, temporality, spatiality, Anders-streben

摘要： 但丁·罗塞蒂是前拉斐尔派的领军人物,他一生致力于诗画双重艺术实践并以之探索诗画两者之关系。本文研究认为,其诗画艺术呈现出绘画向时间性延伸、诗歌向空间性拓展的“出位之思”的美学特征。一方面,罗塞蒂运用多幅同主题画作、音乐性以及文学叙述这3种从显性到隐性的方式来展示绘画向时间流动的潜能;另一方面,在文字向空间的流动上,艺术家既以诗歌形式呈现的空间感来模拟画的物理空间,又运用艺格敷词给原画作补充心理空间。正如莱辛的诗画异质说代表了西方“诗如画”传统的转向,罗塞蒂又以诗画的时空互摄完成了对“诗如画”传统的否定之否定,实现了对诗画关系的螺旋式上升的认识。罗塞蒂的诗画艺术在对二元对立等级观念的拒斥中成为一种逻各斯中心主义之外的书写,以其独特的“出位之思”的审美趣味彰显出前拉斐尔派于所处时代的先锋性。

关键词: 但丁·罗塞蒂, 诗与画, 时间性, 空间性, 出位之思