处默诗的自我形象与景画处置

Self-portrait and ways of picturing scenery in Chomo’s poems

处默的诗在意境、色彩、布局方面借鉴山水画手法,达到了诗中有画的境界,体现了向盛唐山水诗朦胧美的复归。诗中既有类似山水画的印象式书写,又有工笔细描式的刻画,既真实又虚幻,既澄明又缥缈。诗中充满动感的词汇、视角的转换、感官的调动,超越了静态的绘画艺术,保持了画面的开放、持久。诗中的自我不再是观画人,而是画中人,展现了生机勃勃、物我交融的世界。

Chumo’s poems draw on the techniques of landscape painting in terms of artistic conception, color and layout, reaching the realm of “painting in poetry” and reflecting the return to the hazy beauty of landscape poetry in the Tang Dynasty. In the poems, there is not only impressionistic writing similar to landscape painting, but also meticulous depiction, which is real and illusory, clear and ethereal. The poetry is full of dynamic words, the transformation of perspective and the mobilization of senses, which transcends the static art of painting and maintains the openness and durability of the picture. The “self” in the poems is no longer the observer of the painting, but the person in the painting, showing a vibrant world where things are blended with “me”.