自苏轼创“味摩诘之诗,诗中有画”(《书摩诘蓝田烟雨图》)之说,人们对“诗中有画”命题的研究和争论已经很多,但基本上是就王维诗或王维以后的山水诗而发。远在王维之前,南朝宋时期的元嘉三大家(谢灵运、颜延之、鲍照)的诗歌已具有“诗中有画”的特点,他们对于光、色的运用很有精妙之处,为后世诗歌“光、色成画”的艺术表现形式树立了典范,尤其是三大家那些优秀的写景之句,光、色的运用自然得体、恰到好处。 Since the creation of Su Shi, “the poem in the poem”, there is a painting in the poem “(” Book of Moro Lantian Amoy map “), people have a lot of research and debate on the proposition” there is painting in the poem “ On the Wang Wei poetry or after Wang Wei’s landscape poetry and hair. Far before Wang Wei, the poems of Yuanjia, who lived in the Southern Song Dynasty and Song Dynasty (Xie Lingyun, Yan Yanzhi and Bao Zhao), already have the characteristic of ”painting in the poem“. They are very subtle to the application of light and color, For future generations of poetry ”light, color into painting " of the artistic expression set a model, especially for those three outstanding scenery of the scene, the light, the use of natural and decent, just right.