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作 者:王维 Wang Wei(College of Literature Northwest Normal University,Lanzhou Gansu 730070,China)
出 处:《北京化工大学学报(社会科学版)》2023年第4期91-99,107,共10页Journal of Beijing University of Chemical Technology(Social Sciences Edition)
基 金:国家社会科学基金项目“明清之际:诗人心态与诗歌走向”(12BZW048);甘肃省研究生“创新之星”项目“清初遗民题画文学文献整理与研究”(2023CXZX-262)。
摘 要:清初“四王”是清代题画诗流变史上一个重要的题画群体。相同的社会文化环境、画学背景以及相似的人生境遇和处世态度,使这个题画群体的创作在主题取向上呈现出一些共同的特征:抒发易代之痛,表达厌宦之情,享受田园之乐,映衬风雅之致,宣扬绘画理念。较之前代题画诗尤其是画家题画诗,“四王”题画诗以其强势的实指性或者说丰富的思想性,牢牢占据了诗画关系的主导地位,使得画作必须依靠诗歌才能获得完整的意义。这在一定程度上改变了“诗为画余”的传统观念,强化了题画诗的表现机制和思想深度,同时也拓宽了绘画的抒情渠道和精神内涵,为后来小四王画派、扬州画派,甚至是近代以来的许多画派都树立了较好的题画典范。The Four Wangs of the early Qing dynasty were an important group of inscriptions and paintings in the history of the evolution of inscribed poetry in the Qing dynasty.The same socio-cultural environment and painting background,as well as similar life situations and attitudes in the world,led to some common features in the thematic orientation of the group’s compositions:expressing the pain of transferring generations;expressing the aversion to bureaucrats;enjoying the pleasures of the countryside;reflecting the style of elegance and grace;and promoting the concept of painting.Compared to the poems inscribed by painters in previous generations,the poems inscribed by the Four Wangs firmly dominate the relationship between poetry and painting with their strong realism or richness of thought,making it necessary for paintings to rely on poetry to gain their full meaning.To a certain extent,this changed the traditional notion of“poetry as the rest of painting”,strengthening the expressive mechanism and ideological depth of inscribed poems,while also broadening the lyrical channels and spiritual connotations of painting,and setting a better example of inscribed painting for the later Xiao Si Wang school,the Yangzhou school,and even for many schools of painting since modern times.
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