游于艺途

【作者】 赵晓涛；

【导师】 王水照；

【作者基本信息】 复旦大学 ， 中国古代文学， 2003， 博士

【摘要】 本论文在前人已有成果的基础上，以题画诗为主要资料来源，对宋代诗歌与绘画的相关性问题作了比较全面的把握。第一章就使宋代诗歌与绘画产生关联的文化背景加以观照，较为具体地考察了宋代社会中广泛存在着的书画收藏、品画题画等习好。第二章通过对宋代文士的绘画意识与画家的文学意识两方面情形的具体考察，来见出宋代文士与画家都对对方的角色有着一定程度上的认同感，画家藉着诗情而得以提升自己的绘画品格，文士则常常借助于绘画意识来激起胸中的诗意，从而为宋代“诗中有画”与“画中有诗”这对命题之建立提供了坚实的主体客观心理基础和依据。第三章指出“诗中有画”与“画中有诗”在宋人那里已然形成为一对诗歌和绘画之间互文性的理论命题，是宋代诗歌与绘画参融观念的一体两面。第四章依画家选择和诠释诗文的不同情况，将宋代的诗意图归为三类（一、图绘诗文全部的内容，具象其要旨；二、摘取诗文短句，以诗眼统摄全文；三、缘情而发，依于诗文而又别开生面）来进行具体考察。并分析其创作情形和艺术特征，认为宋代的诗意图是宋代画家以其审美体验对诗人主体体验的融摄，显示出宋代绘画艺术在很大程度上抛却纯粹视觉美感欣赏，转向人文思致与画外意趣，主动接受文学在精神意趣上对它的引导和投影。从某种意义上讲，它是宋人经典文本意识的外在表征，反过来又扩大了前人那些诗文名作的流传途径。它的兴盛反映了宋人意在兼综状景造形与言情寄意的创作思想，通过诗歌与绘画的彼此诱发而新生无穷之情景，实现了古代“言有尽而意无穷”和“立象以尽意” 这两大文艺命题的整合。第五章通过对宋代两组题诗意图诗的具体分析，指出它们是以画家据原诗所作的诗意图为接受中介，与诗人各自的主体心灵相印证，从而逗引出不同的致思方向，并沿着这些判然有别的方向伸展开来，可以说它也是宋人经典文本意识的表现之一。第六章通过具体诗例分析了宋代题画诗中的唱和与同题共作这两种集体创作现象，指出这种诗歌唱和活动实际上构成了一种文本对话关系，具有共同而又平等的参与性特征，并显示出一种“多声部”的形态，从而最终形成一种文学作品的有机集合，可以说它反映了宋人对于这种对话文本所持的一种较为动态、开放的观念，使得传统的线性文本之间能够呈现出交叉映射性的面貌特征，是传统文学为克服线性文本静止、固定、有限之形态所做的一种努力。并特别指出由于前面唱和者的诱导，使得不少后来参与者的诗歌具有某些“双声话语”的质素，即双重指向性。还指出宋代诗人还时常藉着对画作的共同题赏这一文艺活动平台而在无形之中展开一场诗歌技艺的较量，这既是<WP=6>时代诗歌风气使然，同时他们的这种具有集体趋向性的文艺活动也参与塑造了时代诗歌风气，同诗歌唱和一样，这种同题共作现象在主题表达上也常常不可避免地存在着带有根本意义的多声部性和不协调性。第七章着力阐发宋代题画诗因其大多切近山水画而追求“隐逸之志”的主题价值取向，指出以之为代表，鲜明地体现出宋诗中更多地从个体主体出发，指向个性化色彩较为浓烈的内在心灵世界的一极，而这种大量的“个人话语”在汇集起来之后却又呈现出较为严重的“同类意识”倾向，由之不难看出中国古代传统文人士大夫人生道路设计的单调。余论则简要地探讨了一下宋代题画诗对于宋代士人的独特意义。全文所论或有一定程度上的理论突破，或填补了以往研究中的不足和空白之处。更多还原

【Abstract】 In this paper the author makes a comprehensive exploration on the poems and paintings of Song Dynasty and their interrelated aspects by dealing with the materials of the poems on the paintings. In chapter one the author discusses the hobbies such as the collection of paintings and calligraphy in details by analyzing the cultural backgrounds which is strongly connected with poems and paintings in Song Dynasty. In chapter two the author debates the fact that the scholars and the painters in Song Dynasty identify with each other to some degrees, that the painters improve their character of paintings by inspiration and the scholars inspire their poetic images by the consciousness of painting through the review of the two aspects - the consciousness of painting which accounts for the scholars and the consciousness of literature which s accounts for the painters. Then the author provides the substantial and psychological basis and causes for the proposition that there are paintings in poems and on the other hand there are poems in paintings. In chapter three the author argues that the proposition of paintings in poems and poems in paintings forms the theoretical and literal one between the poems and paintings. In chapter four the author divides the poems on the paintings into three categories(The first category is: the entire contents, images and outlines of the poems and the paintings. The second category is: to select some poetic sentences to reflect the whole article. The third category is: uttering the poetic meaning.)for analysize according to the different choice of the painters and the different explanation to the poems. The author also analyzes the creative conditions and the artistic characteristics and makes a point that the poetic paintings in Song Dynasty displays the aesthetic experience of the poets and the painters, reveals the truth that pure visual appreciation has been thrown away and the spiritual appreciation, meaningful appreciation as well as thoughtful appreciation have been accepted. The author also concludes that this is the representation of the consciousness of Song Dynasty and it expands circulating path of the poems and paintings, that its prosperity reflects the creative intentions of Song Dynasty - the fulfill of the convergence<WP=8>of the two proposition. One is that the meaning is unlimited while the words in limited and the other is that describing the image to express the whole meaning. In chapter five the author points out that in Song Dynasty the painter’ s intension is to coincide with the poet’ s inspiration by analyzing two groups of poetic paintings and then makes the conclusion that this is the exhibition of one of the most classic consciousness in Song Dynasty. In chapter six the author explores two kinds of collective creative phenomena which exist in the poems on the paintings and points out that in fact these phenomena compose the dialogic relationship of the test and exhibit a kind of heteroglossia formation. At last these phenomena form the congregation of masterpieces and reflect the enlightened and energetic opinions in Song Dynasty. In this chapter the author particularly debates the dual-voiced discourse which exists in some poems and points out that the poets in Song Dynasty compete with each other in some aspects of poetic appraisal and poetic skills. This is not only the requirement of age, but also the demands of the movement of the poetic innovation. These phenomena show their prominence in the process of shaping the poetic style and also present their disharmony and heteroglossia among the literature. In chapter seven the author explains the popular orientation of the value - the pursuit of isolation and alienation by living close to the mountains and waters, and points out that this represents that the poets make more and more emphasis on individualism , inner mind as well as spiritual thought. In the last chapter the author makes a terse brief on the unique contribution of the poems on the paintings in Song Dynasty. At the end, the author makes an更多还原