郑元祐题画诗典型意义与元末南北诗学之分  

The typical Significance of Zheng Yuanyou’s Poems on Paintings and the Differences between North and South Poetics at the End of the Yuan Dynasty

作　　者：燕颖 YAN Ying

机构地区：[1]河南大学文学院,河南开封475001

出　　处：《五邑大学学报（社会科学版）》2024年第2期36-39,76,93,共6页Journal of Wuyi University(Social Sciences Edition)

基　　金：国家社会科学基金资助项目“许有壬集笺注”(批准号:23FZWA007);国家社会科学基金资助项目“明代元集整理与元诗选本研究”(批准号:22FZWB043)的部分成果。

摘　　要：郑元祐题画诗受图画题材、诗歌意象与交游活动的影响,呈现出清峻苍古的风格特征。以情带画,重视对画作整体气韵、意境的传达,同时将情感心绪和历史见解融入其中,画情融合,以人论画,体现出“浸入式”的图画品题方法。郑元祐题画诗风格和创作路径在元末江南文坛很有典型性,迥异于元初中期王恽、虞杨范揭等雅正雍容的诗风,反而与赵孟頫、袁桷等南方文人尚清、师古、言性情之自然的诗学宗尚异代相合。二者代表了元代题画诗创作的两种典型形态。Zheng Yuanyou’s poems on paintings,influenced by subject matter,poetry image and social activities,show the stylistic characteristics of being clean and austere.Painting with emotion,paying attention to the overall mood of the painting,expressing artistic conceptions,and at the same time blending in emotional mood and historical insight,his poems reflect the“immersion”method of appreci-ating paintings.The style and creation path of Zheng Yuanyou’s poems for paintings were typical of the literary circle of South China at the end of the Yuan Dynasty,different from the elegant and graceful style of Wang Yun,Yu Ji,Yang Zai,Fan Guo,and Jie Xisi in the early and middle periods of the Yuan Dynasty,but compatible with the natural poetics of Zhao Mengxu and Yuan Jiao,who valued clarity anddrew on the ancientswith a view to expressing sentiments.The two schools represented the two typical forms of poems on paintings created in the Yuan Dynasty.

关 键 词：郑元祐 题画诗 雅正诗风 性情论 

分 类 号：I206.2[文学—中国文学]