北宋绘画观赏与金代中后期题画诗的审美倾向  

The Northern Song's Art Appreciation and The Late Jin's Aesthestic Tendency towards The Painting with Poetry

作　　者：陈博涵[1] 

机构地区：[1]国务院参事室中国国学研究与交流中心

出　　处：《故宫博物院院刊》2016年第6期147-155,共9页Palace Museum Journal

基　　金：教育部人文社会科学重点研究基地2011年度重大研究项目<宋金元文艺思想史>(项目编号:11jjd750009)的阶段性成果

摘　　要：题画诗在广义层面上意指与品赏绘画艺术相关的诗歌创作。从观看者的角度来说,题画之人需要具备一套行之有效的品鉴方法,才能读出其中的气韵。以苏轼、黄庭坚为代表的宋代观画传统对金代士人书画审美倾向的形成有着重要影响。不仅元好问品题黄华墨竹如此,金人对流传于金中后期40余年间《燕子图》的同题集咏,更是彰显了这种审美趣味。金人的观画与题画活动,将诗性思维融入绘画欣赏中,观画以观己,题画以题人生。The poem left in a traditional Chinese painting,in its broad sense,is the expression of the author's feeling and explanation about the art who is a master at appreciating the rhyme of the work.The Song's esthetics represented by Su Shi and Huang Tingjian impacts upon the Jin-dynasty scholars' taste of painting and calligraphy who preferred the paintings with poetry.For instance,Yuan Haowen wrote a poem on 'Bamboo' by Wang Tingyun,so did the Jin poets do in the paintings on 'Swallows'(Yanzi Tu) popular for over 40 years from the mid to late Jin dynasty.The verses extrude the artistic conception of the work,but also reflect the poet's philosophy on life.

关 键 词：苏学 金代 王庭筠 元好问 《燕子图》 题画诗 

分 类 号：J212[艺术—美术]