论胡祗遹题画诗的隐逸情怀  

The Recluse Feelings in Hu Zhiyu’s Painting Poems

作　　者：孔志燕 辛昕[1] KONG Zhiyan;XIN Xin(Faculy of Arts,Liaoning Normal University,Dalian,Liaoning 116000,China)

机构地区：[1]辽宁师范大学文学院,辽宁大连116000

出　　处：《开封文化艺术职业学院学报》2024年第2期29-32,共4页Journal of Kaifeng Vocational College of Culture & Art

基　　金：2022年度辽宁省社会科学规划基金一般项目“元初北方文学活动与文学创作研究”(L22BZW007)。

摘　　要：题画诗在元代逐渐成熟,在元初题画及隐逸之风盛行的情形下,以胡祗遹为代表的元初北方文人以画境寄托归隐心境,其山水类题画及题陶画诗托画寄意、诗画相融,以题画诗作为超脱现实的心灵寄托,表达超脱世俗的隐逸情怀。通过梳理这些诗歌,可以感悟元初题画诗托画寄意、诗画相资的艺术风貌,体会元初文人的慕陶情结,窥探胡祗遹务实济世思想之外的林泉之趣、隐逸之思及其题画诗重要的思想价值。Painting poems gradually matured in the Yuan Dynasty.Under the atmosphere of the prevailing painting poems and the mood of seclusion in the beginning of the Yuan Dynasty,the northern literati represented by Hu Zhiyu projected their thoughts in the painting.His landscape painting poems and pottery painting poems blend poetry with paintings to express his hidden mind of seclusion.An analysis of these poems will be conducive to understand the artistic style of poems and paintings in the early Yuan Dynasty,appreciate the literati’s complex of admiring Tao Yuanming and explore Hu Zhiyu’s pragmatic thoughts of helping the world and its the important ideological value besides his interest in nature and his hermit thoughts.

关 键 词：胡祗遹 题画诗 诗画融合 归隐情怀 

分 类 号：I207.22[文学—中国文学]