明清唐诗诗意画的文献辑考与研究

【作者】 万德敬；

【导师】 李浩；

【作者基本信息】 西北大学 ， 中国古代文学， 2013， 博士

【摘要】 明清两朝是唐诗学的繁荣期,也是中国绘画发展的一个重要时期。在这个近六百年的时段里出现了一个耐人寻味的艺术现象——画家们大量地创作唐诗诗意画。唐诗自身具备了一些可以入画的先天质素,所以在唐代就已经有人把它作为画题来耕耘,宋元又有了进一步的拓展。这些都为明清画家做出了重要的示范。明清时期中国出现了资本主义萌芽,市民阶层壮大,同时又由于中国传统文化近两千年的积淀,所以,整个社会的文化程度普遍很高。这些都是明清唐诗诗意画产生的背景和基础,同时也对唐诗诗意画的创作提出了一个较高的要求。明清画家创作唐诗诗意画的动因有多种,甚至可以说是多种的混合。他们创作的唐诗诗意画也有多种类型,要而言之,有显型与隐型,秀句与整篇,单幅与组图,先行与追题等。虽然经过明清易代,入画唐诗的主题、题材在明清两朝并没有多大的变化,闲适、安逸、隐居、友情之类的唐诗占绝对优势。这再一次印证了钱锺书的话“相当于南宗画风的诗不是诗中的高品或正宗,而相当于神韵派诗风的画却是画中的高品或正宗”。明清画家创作与后人整理往往是不同步的,这就产生了两个问题：异文与误编。本文仅就笔者经眼的文献对这两个问题进行梳理。古人对绘画的分类非常琐细,本文采用今人的基本分类(山水画、人物画、花卉画)去看待唐诗入画产生的硕果。论文指出,唐诗为中国山水画的创作方法、一些历史人物的定型、中国花卉的人文内涵等做出了巨大的贡献。本文也对明清唐诗诗意画进行了个案的文献考察,尝试着用图像学的理论精华与传统的考据方法对若干明清唐诗诗意画考释。最后就互文产生的另外三个问题,即明清画家的诗学素养、同题之作及因唐诗诗意画而产生的题画诗再做探析。本论文的附录有三个,这些附录是对明清唐诗诗意画的文献辑考,分别为唐诗入画一览表,唐诗入画年表,明清画家唐诗诗意画创作一览表。更多还原

【Abstract】 Ming and Qing dynasties are flourishing period of Tang poetics and important development period of Chinese paintings, in which present an art phenomenon-the artists had created a large number of paintings concerning with Tang poetry. The innate qualities of Tang poetry make itself to be stuff of the paintings, so in the Tang dynasty had regarded it as a topic to draw, and to be expanded in the Song-Yuan dynasties. All of these made important demonstration for the painters of Ming-Qing dynasties. During this period, the whole society’s culture was in the high level, based on the growing citizen and accumulation of two thousand years. Therefore, these became the background and basis of the Tang-poetic paintings of Ming-Qing, and also put forward a higher request for creation.There are many reasons the artists of Ming-Qing to create Tang-poetic paintings, and even can be said to be a variety of mixed. The creation also has many types, such as phenotype&cryptotype, sentence&text, single&photos and so on. Although dynasty alternation form Ming to Qing, the theme and subject matter concerning Quiet, Comfort, Seclusion and Friendship have not changed much in the Ming-Qing dynasties, which proved once again that the words of Qian Zhongshu "the poem equivalent of Nanzong painting style is not the poetry in high quality or authentic, while the painting equivalent of verve school is the paintings in the high quality or authentic."The asynchrony of creation and compiling results in two questions:varia lectio and mis-edition, which to be discussed in this article. Because the ancient classification of paintings is very trivial, the paper would take the modern methods to analyze the Tang-poetic paintings. The paper point out Tang poetry has made the tremendous contribution to the creation method of Chinese landscape painting, the shape of some historical figures and humanistic connotation of Chinese flowers and so on.The paper has done the case study in Tang-poetic paintings of Ming-Qing, and tries to make profound criticisms and explanations using the theory of iconology and textural research. Finally, the paper has analyzed the other three issues, which are artists’ poetic quality, same title creations and painting-poems.The appendix of this paper has three, the appendix is the literature collection of Tang poetry in the Ming and qing dynasties poetry painting, Tang poetry show list, respectively, from the Tang dynasty show chronology, Ming and qing dynasty painters list of Tang poetry painting creation.更多还原