从《洛神赋图》看诗与画的关系

The Relation between Poetry and Painting from “the Painting of Ode to the Goddess in Luo”

中国诗画理论在"文人画"兴起之后,得到了质的飞跃,诗通过题画诗的方式出现,从而与画的关系如同孪生。最早有记载的将诗转化为画的人是六朝时期的顾恺之,将《洛神赋》这篇感人至深的诗赋,转化成了《洛神赋图》这幅千古名画,它与文人画与文人画的题画诗关系有所不同,《洛神赋图》相当于对《洛神赋》的注释,形象生动;但它们又有相似之处,就是诗中有画意,画中有诗情。

Chinese poetry and painting theory gained a qualitative leap after the rise of the 'literati painting'.Poem appears on painting,and its relationship with the painting likes twins.The earliest recorded people turned poem into painting was Gu Kaizhi in the Six Dynasties who transformed the touching 'Ode to the Goddess in Luo' into the eternal 'Painting of Ode to the Goddess in Luo' which differs from literati painting and literati poems on paintings.'The Painting of Ode to the Goddess in Luo' is equivalent to the vivid annotation of 'Ode to the Goddess in Luo';but they have similarities,which is painting inside poem and poem inside painting.