论清初“四王”题画诗与画面图像之互文关系  

On the Intertextual Relationship between the Poems of the Four Wangs of the Early Qing Dynasty and Their Picture Images

作　　者：张兵[1] 王维 Zhang Bing;Wang Wei

机构地区：[1]西北师范大学文学院

出　　处：《中国美学研究》2024年第2期130-149,共20页

基　　金：国家社会科学基金项目“清初诗人雅集与诗风演进研究”(19BZW075)阶段性成果

摘　　要：清初“四王”作为传统文人画的集大成者,对题画书法与题画诗的意义有非常自觉的体认。其大量的绘画作品已不再是图像的自我独白,而是诗书画三者互文的结合体。“四王”题画诗与画面图像的互文关系,在内容上既表现为题画诗与画面物象紧密勾连,又运用各种手段进行深度模式的建构,完成了空间层面的拓展和时间层面的补充。在形式上表现为精心排布题画诗和画面图像的位置关系,运用不同的题画书体使画面图像、诗文风格完美契合,使得“四王”诗书画诸元素之间呈现出相当丰富的艺术特质。但由于诗书画属于不同的艺术门类,当三者共享同一文本时,也就不可避免地产生一定的审美张力和视觉矛盾。The Four Wangs of the early Qing dynasty,as the great masters of traditional literati painting,had a very conscious understanding of the significance of calligraphy and poetry in their inscriptions.A large number of his paintings are no longer the monologue of images,but a combination of poetry,calligraphy and painting.The intertextual relationship between the poems and images inscribed by the Four Wangs is manifested in both the close connection between the poems and the images and the use of various means to construct a deeper pattern,completing the expansion of the spatial dimension and the complementary dimension of time.In terms of form,the relationship between the inscribed poems and the images is carefully arranged,and the use of different inscriptions and calligraphic styles makes the images and poems fit perfectly,resulting in a rich artistic quality between the elements of poetry,calligraphy and painting in the Four Wangs.However,as poetry,calligraphy and painting belong to different artistic disciplines,when the three share the same text,a certain aesthetic tension and visual contradiction inevitably arises.

关 键 词：清初“四王” 题画诗 书法 绘画 互文 

分 类 号：I207.22[文学—中国文学] J212[艺术—美术] K249[历史地理—历史学]