晚唐花鸟画与咏物诗的融通

The Consistency of the Flower-and-bird Paintings and Object-chanting Poetry in the Late-Tang Dynasty

晚唐时期,花鸟画与咏物诗同步走向兴盛,诗画艺术呈现高度相关性与共通性。二者不仅在题材方面具有融通的特点,在技法和意境层面也互有呼应。在题材内容上,晚唐花鸟画与咏物诗皆长于借微物抒怀,侧重表现花木鸟禽的细微情状;花鸟画元素依托画壁、屏风、扇面等载体形式亦频频出现于晚唐咏物诗的意象世界。花鸟画的折枝式构图注重布局设色,能够转化为以简驭繁、以一对多的思维方式渗透到晚唐咏物诗的创作领域,从色彩特写与意象结缀两方面为诗人咏物注入绘画艺术的审美特质。

In the late Tang Dynasty,flower-and-bird paintings and object-chanting poetry flourished almost simultaneously,and highly interlinked with each other.Firstly,as means of expressing the creator’s feelings,both are good at describing the subtle characteristics of those minute objects,which reflected the exquisitely creative tendency about poetry and painting in the Late-Tang dynasty.Second,along with the development of the colored drawing art in the Late-Tang Dynasty,the flower-and-bird painting elements have frequently appeared in object-chanting poetry through the painting carriers such as painted walls,screens and fans,which presented a gorgeous atmosphere.Also,the composition of folding branches about flower-and-bird paintings pays more attention to the colors and layouts,so it is able to permeate through the poetic field as a special mode of thinking,and provide relevant aesthetic characteristics to the object-chanting poetry in the Late-Tang Dynasty.