画里棹轻舟:夏目漱石晚期画与汉诗

Boating In The Painting:The Paintings And Poems of NatsumeSouseki

夏目漱石晚年喜好文人画创作,创作过程中以“诗书画一律”作为准则,在画上题赞。所提汉诗与画以意象出发,创造作者心中的意境,共同构筑其向往的“非人情”世界。尽管诗人从意象出发,但有时诗意与画稍有出入,如以单一的竹来代替整片竹林。不仅如此,他的同一首诗或题于不同的画作中,这是夏目情感的反复。尽管同样题写古诗,他的画与《唐诗画谱》中展现诗意是不同的,在创作中他的精神得到了驰骋,从现实中隐遁出来。此外,他的“F+f”理论运用于读图中更易于读者将图之意象与情感连接,与画家产生共鸣。

NatusmeSouseki was very into painting at the evening of his life.He wrote poems on paintings based on the principle of“The trinity of Poetry,Calligraphy and Painting”The poem,which was crafted from the painting itself,illustrated the author’s vision and co-constructed the immaterial world they envisioned.Occasionally,the poems could slightly differ from the paintings,such as replacing a forest of bamboo with a single bamboo.Also,he repeatedly expresses his inner self by writing the same poem onto different paintings.His work in paintings is different from those that was drawn on Tang-era poetry painting and by doing so,the spirit of his was reclused from reality and set free in the imagery world.His“F+f”theory is therefore applied to help readers to experience the link between visual image and his emotions.