画中有诗:中国古典绘画的追梦之旅

Poetry Being in Pictures: Dreams in Chinese Classical Paintings

"画中有诗"是中国古典绘画特别是文人画的突出特点,但这一特点的形成有一个漫长的过程。汉魏六朝,诗歌开始影响绘画并推动了山水画的兴起;隋唐时期,诗歌意境在绘画中逐渐显现,王维的绘画已经被认为是"画中有诗"了;五代和两宋,绘画中的诗歌韵味越来越浓郁,"画中有诗"的特点逐渐形成;元明以后,随着文人画家成为画坛的主流和山水题材在绘画中占了主导地位,"画中有诗"的特点已经成熟了,之后又经过一步步完善,最后形成了诗书画印相结合的中国模式。值得指出的是,虽然文人画最能体现"画中有诗"的特色,但在文人画出现前,诗歌对绘画的影响早已经开始;文人画形成后,一些被认为是"画工"的画家也同样在积极地追求绘画中的诗歌意趣;"画中有诗"体现了中国绘画对诗歌意境的永恒追求,既不是文人画家的专利,也不是仅仅依靠文人画才能体现出来的。

“Poetry Being in Pictures” was a prominent characteristic of Chinese classical paintings, and especially of literati paintings, but it had been formed in a rather long time. During the period of the Han, Wei and Six-Dynasties, poetry began to influence paintings and gave impetus to the development of landscape paintings;in the period of the Sui and Tang Dynasties, poetic conception gradually appeared in paintings, and Wang Wei＆#39;s paintings were already regarded as having “poetry in pictures”; during the period of the Five-Dynasties and Two-Song Dynasties, poetic flavor became richer and richer in paintings, and the characteristic of “poetry being in pictures”was gradually shaped;after the Yuan and Ming Dynasties, with literati paintings becoming the mainstream and landscape paintings occupying the leading position, the main characteristic of “poetry being in pictures” ripened and, after gradual improvements, developed into the poetry-calligraphy-painting-seal combination Chinese model. It needs pointing out that although literati paintings represented the characteristic of “poetry-in-pictures” to the largest degree, poetry had influenced paintings long before the appearance of literati paintings; after the development of literati paintings, some so-called artisan-painters vigorously pursued poetic mood in paintings;“poetry being in pictures”displayed the perpetual pursuit of poetic mood in Chinese paintings, which was neither a patent of literati painters, nor something represented only by literati paintings.