画赞之文体流变——兼论画赞与题画诗的关系

The Stylistic Development of Zan on Paintings and its Relationship with Poems on Paintings

"赞"在先秦礼制中是各种礼仪的辅助人员,本义为"助也、明也"。汉代有图画人物以行道德教化的风气,发展出像赞等各种赞体文。画赞始以说明为主,渐变为以赞美为主。汉代和魏晋的画赞基本都是以道德教化为旨归的,诗性并不强。齐梁以后画赞在形式上更加精致化,也开始以抒情为创作目的。唐代的一些画赞不仅生动传神,而且有感兴寄托,已经完全诗化了。宋代各种文体进一步融合,苏轼的画赞打破了文体之间的苑囿,画赞和题画诗难分彼此。虽然后来的画赞极类似题画诗,但并不等于题画诗,我们要尊重古人对文体的划分。

“Zan” originated in the ritual ceremony in the pre -Qin period, meaning“assistance” and “illus-tration”.The Han Dynasty had the atmosphere of painting portrait of characters for moral education , so the Portrait Zan arose .Its meaning gradually became “praise”.The Zan on paintings in the Han and six Dynasties was mainly for moral education , and was not poetic .But after the Qi and Liang Dynasties , the Zan on paintings was more ex-quisite and lyric .The Zan on paintings in the Tang Dynasty was more vivid and implicated , and was completely po-etic .Styles of writings were further fused in the Song Dynasty , and Sushi＇s Zan on paintings removed the differences of styles of writings , Zan on paintings being extremely like the poems on paintings .But Zan on paintings was not the poems of paintings , and we should respect the notion of ancient people about the differences of styles of writings .