王维“诗中有画”研究的回顾与反思

Retrospectives and Reflections upon Research on WANG Wei's "Painting-in-poetry"

"诗中有画",是苏轼对王维《蓝田烟雨图》题诗的评价,后成为历代评价王维诗的重要命题。传播过程中,"诗中有画"说的内涵发生变化,已非"原生态",其中多误读,有"片面的深刻"。王维"诗中有画"之"诗"特指山水诗及部分田园诗,"画"主要指融入南宗禅意趣的文人"写意"画,是独特的"这一个",不应普泛化理解。"诗中有画"往往"遮蔽"了王维其他诗歌的特色和成就。

＂Painting-in-poetry＂, first remarked by SUShi, has become an important proposition for the later generations com- menting on WANG Wei＇s poetry. But the connotation of ＂painting-in-poetry＂ gradually changed over the process of the dis- semination. There were many misinterpretations about it. WANG Wei＇ s poems in ＂painting-in-poetry＂ refer specifically to landscape poetry and a part of pastoral poetry, while paintings mainly refer to free-sketch paintings by men of letters integrating the Southern Zen Buddhism, which could not be understood in the general sense. ＂Painting-in-poetry＂, however, shadows the other achievements and features of WANG Wei＇s poetry.