从咏画角度辨析《惠崇春江晓景》相关问题  

Some Discussion on Huichong·Dawn Scenery of Spring River from the Perspective of Poetizing Painting

作　　者：孙桂平 SUN Gui-ping(Teaching Department of Public Courses,Guangxi Art Institute,Nanning 530022,Guangxi,China)

机构地区：[1]广西艺术学院公共课教学部,广西南宁530022

出　　处：《徐州工程学院学报（社会科学版）》2022年第4期57-65,共9页Journal of Xuzhou Institute of Technology：Social Sciences Edition

基　　金：国家社会科学基金重大项目“中国古代类书叙录、整理与研究”(19ZDA245);广西艺术学院高层次人才项目“宋代咏画诗研究”(GCRC201901)。

摘　　要：钱锺书将诗题确定为《惠崇春江晓景》,符合画作的场景;指出诗中河豚是虚写的,是兼顾画作的会心之解。《惠崇春江晓景》二首咏的是同一幅画,但其二在写法上有喧宾夺主之嫌,没有体现出咏画的特点。《惠崇春江晓景》提示了“自然与人心相契合”是诗画相通的基本原理,有着以庄学会禅思的机智,隐含着以俗问雅的诙谐机锋。诗人善于寻找文本裂隙展开精神对话,与画家作精神上的平等交往,追求赏画以适意,典型展现了艺术接受的东坡姿态。Qian Zhongshu identified the title of the poem as Huichong·Dawn Scenery of Spring River,which was in line with the scene of the painting.Meanwhile,he pointed out that the puffer fish in the poem was fictionally written as no real one in the drawing,which was a clear understanding of the painting high perspicacity.Although the two poems of Huichong·Dawn Scenery of Spring River poetized the same painting,the second one is too masterful in writing and did not reflect the characteristics of the painting.Huichong·Dawn Scenery of Spring River suggests that the basic principle of syncretizing poem and painting is to achieve"the harmony between nature and man",which has the wisdom of learning to meditate with Chuang-tzu,and seeking elegance with popular tastes.As a poet,Sushi is good at discovering textual flaws for equal and spiritual dialogues with painters,which typically shows Dongpo's attitude of artistic acceptance.

关 键 词：因画解诗 离画咏诗 观画得意 艺术接受的东坡姿态 

分 类 号：I207.22[文学—中国文学]