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题画诗在从唐到宋的发展中,经历了从咏物式的写画到更注重发掘和表现画面意趣的演变过程。苏轼题画诗作为宋代题画诗的代表,突出体现了题画诗表现方式的变化:他以在诗歌中创造完整画面和意境的方式表现绘画形象;以动机—主题的方式在题画诗中展开议论说理,建构起广阔深远的意义空间;通过文献典故与画面的巧妙勾连为题画诗增加文化景深。这些做法不仅集中反映出题画诗由唐之“重形”向宋之“重意”的转变,更代表了这种转变所达到的艺术水平。
In the development from the Tang Dynasty to the Song Dynasty, the title poetry has undergone a transformation from the writing style of the obscurantism to the more attention to discovering and expressing the meaning of the picture. Su Shi’s poems on painting as the representative of the poems on the painting of the Song Dynasty highlight the changes in the way of expressing the poems of the poem: he shows the image of painting in a way that creates a complete picture and artistic conception in poetry; in motto-theme Expand the discussion reasoning, the construction of broad and far-reaching sense of space; through the literature allusions and the ingenious links of the screen for the painting of poems to increase cultural depth. These practices not only reflect the change of the title poetry from the “heavy” to the “heavy” in the Tang Dynasty, but also represent the artistic level achieved by this transformation.