温州大学学报（社会科学版）
溫州大學學報（社會科學版）
온주대학학보（사회과학판）
JOURNAL OF WENZHOU UNIVERSITY(SOCIAL SCIENCES)
2014年
2期
100-105
,共6页
画中有诗%中国古典绘画%文人画%文人画家%画工
畫中有詩%中國古典繪畫%文人畫%文人畫傢%畫工
화중유시%중국고전회화%문인화%문인화가%화공
Poetry Being in Pictures%Chinese Classical Paintings%Literati Paintings%Literati Painter%Artisan-painter
“画中有诗”是中国古典绘画特别是文人画的突出特点，但这一特点的形成有一个漫长的过程。汉魏六朝，诗歌开始影响绘画并推动了山水画的兴起；隋唐时期，诗歌意境在绘画中逐渐显现，王维的绘画已经被认为是“画中有诗”了；五代和两宋，绘画中的诗歌韵味越来越浓郁，“画中有诗”的特点逐渐形成；元明以后，随着文人画家成为画坛的主流和山水题材在绘画中占了主导地位，“画中有诗”的特点已经成熟了，之后又经过一步步完善，最后形成了诗书画印相结合的中国模式。值得指出的是，虽然文人画最能体现“画中有诗”的特色，但在文人画出现前，诗歌对绘画的影响早已经开始；文人画形成后，一些被认为是“画工”的画家也同样在积极地追求绘画中的诗歌意趣；“画中有诗”体现了中国绘画对诗歌意境的永恒追求，既不是文人画家的专利，也不是仅仅依靠文人画才能体现出来的。
“畫中有詩”是中國古典繪畫特彆是文人畫的突齣特點，但這一特點的形成有一箇漫長的過程。漢魏六朝，詩歌開始影響繪畫併推動瞭山水畫的興起；隋唐時期，詩歌意境在繪畫中逐漸顯現，王維的繪畫已經被認為是“畫中有詩”瞭；五代和兩宋，繪畫中的詩歌韻味越來越濃鬱，“畫中有詩”的特點逐漸形成；元明以後，隨著文人畫傢成為畫罈的主流和山水題材在繪畫中佔瞭主導地位，“畫中有詩”的特點已經成熟瞭，之後又經過一步步完善，最後形成瞭詩書畫印相結閤的中國模式。值得指齣的是，雖然文人畫最能體現“畫中有詩”的特色，但在文人畫齣現前，詩歌對繪畫的影響早已經開始；文人畫形成後，一些被認為是“畫工”的畫傢也同樣在積極地追求繪畫中的詩歌意趣；“畫中有詩”體現瞭中國繪畫對詩歌意境的永恆追求，既不是文人畫傢的專利，也不是僅僅依靠文人畫纔能體現齣來的。
“화중유시”시중국고전회화특별시문인화적돌출특점，단저일특점적형성유일개만장적과정。한위육조，시가개시영향회화병추동료산수화적흥기；수당시기，시가의경재회화중축점현현，왕유적회화이경피인위시“화중유시”료；오대화량송，회화중적시가운미월래월농욱，“화중유시”적특점축점형성；원명이후，수착문인화가성위화단적주류화산수제재재회화중점료주도지위，“화중유시”적특점이경성숙료，지후우경과일보보완선，최후형성료시서화인상결합적중국모식。치득지출적시，수연문인화최능체현“화중유시”적특색，단재문인화출현전，시가대회화적영향조이경개시；문인화형성후，일사피인위시“화공”적화가야동양재적겁지추구회화중적시가의취；“화중유시”체현료중국회화대시가의경적영항추구，기불시문인화가적전리，야불시부부의고문인화재능체현출래적。
“Poetry Being in Pictures” was a prominent characteristic of Chinese classical paintings, and especially of literati paintings, but it had been formed in a rather long time. During the period of the Han, Wei and Six-Dynasties, poetry began to influence paintings and gave impetus to the development of landscape paintings;in the period of the Sui and Tang Dynasties, poetic conception gradually appeared in paintings, and Wang Wei's paintings were already regarded as having “poetry in pictures”; during the period of the Five-Dynasties and Two-Song Dynasties, poetic flavor became richer and richer in paintings, and the characteristic of “poetry being in pictures”was gradually shaped;after the Yuan and Ming Dynasties, with literati paintings becoming the mainstream and landscape paintings occupying the leading position, the main characteristic of “poetry being in pictures” ripened and, after gradual improvements, developed into the poetry-calligraphy-painting-seal combination Chinese model. It needs pointing out that although literati paintings represented the characteristic of “poetry-in-pictures” to the largest degree, poetry had influenced paintings long before the appearance of literati paintings; after the development of literati paintings, some so-called artisan-painters vigorously pursued poetic mood in paintings;“poetry being in pictures”displayed the perpetual pursuit of poetic mood in Chinese paintings, which was neither a patent of literati painters, nor something represented only by literati paintings.
