论中国古代题画诗的“语-图”关系

Relationship of "word-image" of ancient Chinese poems in paintings

中国绘画独有的性格品质使其无论是在客观形制上,还是在精神内蕴上都与题画诗结下了不解情缘。无画不成诗,无诗不成画,二者缺一而不完满。作为语图关系的重要一脉,题画诗与画本体之间的关联因为审美主体观看行为的差异性而在"语-图"互文的大语境下呈现别样风味。首先,就画对诗的作用而言,作为图像符号的画因为"所指"的不确定性,而成为诱发不同风格题画诗创作的原发体。其次,其由画面"辐射"而出的"画外画"使得题画诗对画本体的摹仿演变成题者"在场"的一种"内摹仿"。第三,就诗对画的作用而言,题诗并非以再现画作本意为第一要务,其以强势的"我在说话"的"表现性"凌驾于图像之上,重构画本体的再生意义,同时导致诗画互仿、互文中"语—图"缝隙的产生。

Chinese paintings are in close touch with Chinese poets,as far as their external forms and inherent implications are concerned.No picture would have no poetry,and no poetry would have no picture too.As an important dimension of ＂word-image＂ intertextuality,the link between ＂poems in paintings＂ and painting thing-in-itself presents special flavor because of different aesthetic subjects.First of all,as far as the paintings acting on poems,paintings,as the image symbol,become the resource of creating ＂poems in paintings＂ due to the uncertainty of signified.Secondly,because of the existence of ＂image beyond image＂ projected by paintings,the creation of ＂poems in paintings＂ becomes ＂inner initation＂.Finally,as for the poems acting on paintings,the most important task for ＂poems in paintings＂ was not to reappear the original intention of painting,but to restructure the regenerative significance of painting by aggressive expressiveness,which leads to the the gap of ＂word-image＂ in the process of imitating each other.