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中国画题诗的研究由来已久,自南宋孙绍远编著《声画集》至今,其间撰述不断,特别是近几十年,各种著作相继梓行,蔚然大观。但值得注意的是,这些长篇短什大多为辑录、汇编和注释,议论较少,像陈邦彦编《历代题画诗类》,录诗八千多首,分为三十类,一百二十卷,真称得上包罗万象,但它的价值主要还是在资料方面。今天,除少数人从款题的角度,对题画诗加以研究外,大都谈中国画与诗的融合,不外乎“诗画本一律”或“诗中有画,画中有诗”,而列举诗例,又反复标榜李杜,这就使画家们始感困惑,渐次疏离,最后干脆充耳不闻。因此说,当代题画诗研究中一个突出的现象是,研究者高谈阔论,实践者漠不关心。而原因在哪里呢?从画家一方看,他们兴之所至,或率尔操觚,或惨淡经营,若要题诗,就
The study of Chinese painting poem has a long history. Since the introduction of “Sound and Paintings” by Sun Shaoyuan in the Southern Song Dynasty till now, there are many written articles, especially in recent decades. However, it is worth noting that most of these short stories are mostly recorded, compiled and annotated, with few discussions. For example, Chen Bangyan’s series entitled “Poems of Various Dynasties,” recording more than 8,000 poems is divided into thirty categories and one hundred and two Ten volumes, really worthy of all-encompassing, but its value is mainly in terms of information. Today, with the exception of a few people who have studied topic-based poetry from the perspective of the title, most talk about the fusion of Chinese painting and poetry, no matter whether there is “poetry and painting” or “painting in poetry and poetry in painting”, whereas Enumerated poetic examples, but also repeatedly advertised Li Du, which makes painters began to feel confused, gradually alienated, and finally just turn a deaf ear. Therefore, one of the prominent phenomena in the study of contemporary Chinese painting of thematic inscriptions is that researchers talk nonsense and practitioners are indifferent. And why? From the painter’s side, what they deserved, or run, or bleak, if you want to poem