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| 詩、畫、禪與蘇軾、黃庭堅詠竹題畫研究 - 以墨竹題詠與禪趣、比德、興寄為核心=Poetry, Painting, and Chan Buddhism: A Study of Inscription Poems on Paintings of Bamboo by Su Shi and Huang Tingjian, with a Focus on the Interaction between Poems Inscribed on Paintings of Bamboo in Black Ink, Chan Buddhist Aesthetics, and Metaphorical Representation of Moral Character | ||
| 作者 | 張高評 (著)=Juang, Gau-ping (au.) |
|---|---|
| 出處題名 | 人文中國學報=Sino-Humanitas |
| 卷期 | n.19 |
| 出版日期 | 2013.10.01 |
| 頁次 | 1 - 42 |
| 出版者 | 香港浸會大學 |
| 出版者網址 | http://buwww.hkbu.edu.hk/tch/main/index.jsp |
| 出版地 | 九龍, 香港, 中國 [Kowloon, Hong Kong, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 關鍵詞 | 墨竹=ink-painted bamboo; 墨戲=playful ink painting; 游戲三昧=profound delight in recreation; 比德興寄=metaphorical representation of virtuousness; 題畫詩=poems inscribed on paintings; 蘇軾=Su Shi; 黄庭堅=Huang Tingjian |
| 摘要 | 會通化成，爲宋型文化特色之一；題詠繪畫，爲宋代詩畫之岀位之思；詩畫一律之觀念，至北宋元祐年間已流行應用。宋代士人習染佛禪，以水墨作畫，往往滲透於其中；詩人題詠墨畫，亦以禪爲詩，得游戲之三昧。竹在宋代，既名列歲寒三友，又比德爲四君子之一。竹之形象，中空、有節、長青、參天、堅勁、柔韌，故引發士人喜愛，或見之歌詠，或形之畫圖。尤其竹之本固、性直、心空、節貞諸德操，詠竹詩、墨竹畫往往多所體現。本文綜考北宋蘇軾、黄庭堅之詠竹詩篇及墨竹題詠，作爲研究文本。蘇軾有墨竹、水墨山水，以及枯木之詠。黄庭堅亦作墨竹11首，題詠横竹、偃竹、竹石、畫竹、緑筠、風雨竹、竹石牧牛之倫若干首。詩人或以比德，或以興寄，詠物之妙，蔚爲文人畫之墨戲，多體現爲游戲三昧，蓋合詩、畫、禪而一之。詩、畫、禪三者之跨際會通，新奇組合，形成詠竹、墨竹之一大特色。清吴之振《宋詩鈔》引曹學佺序宋詩之言，謂宋詩特色爲「取材廣，而命意深」，宋人之水墨畫題詠可見之。 One typical aspect of the zeitgeist of the Song dynasty is ”comprehension and transformation.” The inscription of poems on paintings was a prominent trend that represents the unique aesthetics of the time. The concept that poetry and painting should be treated as the same art type was prevalent from the Yuanyou reign period (1086-1094) of the Northern Song. The ink and wash paintings by literati in the Song, who lived in a Chan Buddhist culture, always displayed this aesthetic quality. Likewise, poets also found profound delights in their somewhat playful Chan Buddhist style inscription poems on these paintings.In the Song, bamboo was regarded as one of ”the three friends of wintertime” and one of ”the four gentlemen of high morality.” Literati were fond of bamboo because its image was laden with symbolic meanings: the hollowness inside represented generosity; the nodes referred to integrity; its evergreen nature symbolized longevity; towering toward the sky reflected aspiration; strength showed perseverance; and softness and toughness reflected flexibility. Therefore, bamboo became a common object in poetry and paintings which focused mainly on the plant's virtuous qualities, such as: having a strong footing, being upright in nature, having a broad mind, and being chaste.The present article is a study of inscription poems on paintings of bamboo written respectively by Su Shi (1037-1101) and Huang Tingjian (1045-1105). Su wrote poems on ink bamboo, ink and wash landscape paintings, and paintings of withered trees. Huang also wrote eleven poems on ink and wash bamboo, and some others on horizontal bamboo, reposing bamboo, bamboo and stone, painting bamboo, green bamboo, bamboo amidst wind and rain, and other related subjects such as bamboo, rocks, and pasturing cattle. These poems are metaphors for moral character, or a means by which the poet expresses certain feelings. The wondrous description is combined with painting skills and reaches a highly profound level of aesthetic appeal, which marks the achievement of the unification of poetry, painting, and Chan Buddhism. The interdisciplinary products bear a distinguished feature. In his Hand copied Song Poems, Wu Zhizhen (1640-1717) of the Qing dynasty quotes Cao Xuequan's (1574-1647) ”Preface to Song Poetry”: the main characteristics of Song poetry include ”a wide range of themes and their profound meanings.” These characteristics are reflected in Song inscription poems on ink and wash paintings. |
| 目次 | 一、前言 2 二、墨戲：南宗禪、文人畫與題畫詩 3 （一）南宗禪與文人畫 4 （二）詩、畫、禪與游戲三昧 5 三、蘇軾、黄庭堅詠竹與寄興、比德、禪趣 7 （一）寄興寫意 8 （二）比德審美 12 （三）游戲三昧 15 四、蘇軾、黄庭堅墨竹題畫詩與禪趣、比德 17 （一）游戲三昧 20 （二）比德審美 27 五、結論 30 |
| ISSN | 15622754 (P); 15622754 (E) |
| 點閱次數 | 458 |
| 建檔日期 | 2022.11.03 |
| 更新日期 | 2022.11.03 |
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