荒寒 – Chinese philosophy and culture

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huānghán 荒寒

Grim and Desolate

古代诗词绘画作品中所描写的荒僻凄寒的环境及所体现出的孤寂凄凉的心境。唐宋时期一些远戍边关或遭贬谪的诗人,因仕途失意或不为时人理解而倍感环境的荒凉和内心的孤独,在诗歌作品中常常营造一种荒僻凄寒的氛围或意境,以此传达自己百折不回、独善其身的心志,使之成为一种独特的审美追求和超越现实的审美方式。追求荒寒意境的绘画则更充满一种独与天地往来的精神和与自然融为一体的情趣。这类诗画代表着中国文化的一种独特品位与风格。

This term refers to desolate and barren landscapes described or portrayed in classical poems or paintings that convey a feeling of loneliness and desolation. During the Tang and Song dynasties, some poets who were either exiled or sent to work at border garrisons did not only dwell in desolate places but also felt the dire bleakness within as they saw no hope for their future and they were being unappreciated and unrecognized for what they were worth. As a result, in their poetry they would create bleak, desolate scenes with a view to expressing their perseverance and determination to maintain personal integrity. In doing so they created a unique artistic method capable of transcending reality. Paintings depicting grim, desolate scenes suggest the lonely communication of man with nature, expressing as well the integration of man with nature. Such poems and paintings represent a kind of taste and style characteristic of Chinese culture.

引例 Citations:

◎尤工写塞外荒寒之景,殆扈从时所身历,故言这亲切如此。其慢词则凡近拖沓,远不如其小令,岂词才所限欤?(蔡嵩云《柯亭词论》)

([纳兰性德的词]尤其长于写塞外荒寒的景象,应该是在随皇帝出巡时的亲身经历,因此他的描写才如此亲切。而他较长的词作则近乎拖沓,远远不如他的小令,难道是他作词的才力所限的缘故吗?)

The vivid portrayals of grim and desolate scenes beyond the Great Wall in Nalan Xingde’s ci poems derive from his personal experience escorting the emperor on inspection tours, so that his portrayals are so close to nature. On the other hand his long ci poems are a bit loose, not as good as his short ones. Is it because his talent had its limits? (Cai Songyun: Keting’s Comments on Ci Poetry)

◎雪图自摩诘以后,惟称营丘、华原、河阳、道宁。然古劲有余,而荒寒不逮。(恽寿平《南田画跋》)

(画雪景的作品自王维之后,可以称道的是李成、范宽、李唐、许道宁。然而他们的画作古朴苍劲有余,但荒寒意境上却不及王维的作品。)

As for snowy scenes produced after the time of Wang Wei, those worth notice were by Li Cheng, Fan Kuan, Li Tang, and Xu Daoning. Although their brushwork was amply vigorous, they could not compare with Wang Wei in regards to that sense of grim desolation. (Yun Shouping: Nantian’s Comments on Paintings)

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