以文解画,以画解文:中国古代绘画与文学之间的关系

Reading Paintings by Studying Texts,Looking at Texts by Studying Images: Relationships Between Literature and Painting in Classical Chinese Culture

文学是文人文化的精髓,而绘画也属于文人文化范畴,所以必须研究绘画与文学之间的关系。本文以三幅叙述性画作为例,分析绘画与文章之间的三种关系:一是从北京故宫与辽宁省博物馆所藏的《洛神图》论证研究图像必须首先细阅原文,才能解释画家为何用了某个图案,并由此说明文图关系之密切。二是间接的文图关系:从《桃源图》(各地所藏多件)论证有几个常见图案在某个环境里所涵带的有特别的文学含义,因为《桃花源记》经过几种诠注以及有多种版本。三是最复杂的文图关系:从美国堪萨斯博物馆藏《后赤壁赋图》论证有时画家通过强调一个图案,来解释原文本身蕴含的意义,图案表示文字多层的含义。由此来说明画题相当重要,而且绘画能够变成一种文学诠注,表达当时文人的观念。

As a part of literati culture,Chinese painting has obvious relations with literature,so it is required to examine those relationships. In this paper the author studies them through three different examples of narrative paintings. First,in the case of the Nymph of the Lo River（ Beijing Palace Museum and Liaoning provincial Museum）,it can be observed that the meaning of each motives can only be understood with a precise reading of the original text.It is a case of direct relationship between text and image. Secondly,in the case of the Peach Blossom Spring（ different versions in different places）,some very common iconographic elements appear to have specific meaning in this very particular literary context. It can be viewed as a case of indirect relationship between text and image,as it depends not on the original text,but on different commentaries or editions. Thirdly,in the case of the Second Rhapsody of the Red Cliff（ Kansas City Museum of Arts）,the painter insists on a motif in order to reveal a special meaning,which was contained in the original text but not explicit. This kind of relationship between text and image is the most complicated,as it contains different levels of meanings. In conclusion,the subject matter of painter is an important part of it,and in some cases,the painting could be seen as a commentary to the painted text,which expresses literary points of view.