诗中有画,画中有诗 – Chinese philosophy and culture

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shī zhōnɡ yǒu huà, huà zhōnɡ yǒu shī 诗中有画,画中有诗

Painting in Poetry, Poetry in Painting

诗中有画意,画中有诗情。指诗歌与绘画作品所呈现出的审美意境融合相通的美学效果。语出苏轼《书摩诘〈蓝关烟雨图〉》。绘画是造型艺术,通过众多物象构成画面给人以审美感受;诗歌是语言艺术,通过文字营造意境给人以审美感受。前者是“无声有形”的艺术,后者是“有声无形”的艺术。这一术语旨在提倡“诗歌”与“绘画”的相互渗透与融合,进而创造出天然清新、具有“诗情画意”的审美境界。苏轼这一思想对后世文学与绘画艺术的发展有着深远的影响。

This expression highlights the connection between poetry and painting in their ability to create aesthetic imagery. This idea was first put forward by Su Shi in his “Notes to Wang Wei’s Painting of Mist and Rain over Languan.” Painting creates an aesthetic effect through images presented. Poetry, on the other hand, is a language art, which creates an aesthetic effect through the use of words. The former is an art that has shape but no sound, while the latter is an art that has sound but no shape. The term means that good poetry and painting should be fused so that a spontaneous and novel aesthetic realm can be created by a “picturesque poem” or a “poetic picture.” This idea of Su Shi’s had a far-reaching influence on the subsequent development of literature and painting in China.

引例 Citations:

◎味摩诘之诗,诗中有画;观摩诘之画,画中有诗。(苏轼《东坡题跋·书摩诘〈蓝关烟雨图〉》)

(品味王维的诗,诗中有画的意境;观看王维的画,画中有诗的情感。)

When reading Wang Wei’s poems, one can conjure up a picturesque image. When viewing Wang Wei’s paintings, one can experience a poetic sentiment. (Su Shi: Dongpo’s Comments on Literary and Artistic Works)

◎诗中画,性情中来者也,则画不是可拟张拟李而后作诗;画中诗,乃境趣时生者也,则诗不是便生吞活剥而后成画。真识相触,如镜写影,初何容心,今人不免唐突诗画矣。(石涛《大涤子题画诗跋》卷一)

(所谓诗中有画,源自诗人的本真性情,故而诗中的画不是随便描摹哪个人的画便能写出诗来;所谓画中有诗,乃是由当时特定的意境、情趣生发出来的,故而画中的诗不是生搬硬套某一首诗便能画成画。内心的识见与自然碰撞相融,如同镜子显现物象那么逼真,起初哪里是有意于此,今天的人[不懂得这一点]所以免不了要胡乱冒犯诗画了。)

Painting in poetry is a natural creation deriving from a poet’s true aspiration; such poems cannot be composed by imitating others’ paintings. Poetry in painting is inspired by a specific scene or sentiment at a given time, so it is not possible to artificially insert a poem into a painting. The way that a mind interacts with nature is as direct and unaffected as a life-like image reflected in a mirror. The effect is not deliberately intended at first. Nowadays, people do not understand this point. No wonder poetry and painting have become abused. (Shi Tao: Dadizi’s Comments on Paintings)

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