一拳打破古来今——论吴昌硕题画诗.pdf

摘要摘要吴昌硕被称为“晚清最后一位,也是现代最初的一位中国画大师”,且素有诗书画印“四绝"之美誉。在他六十余年的诗歌创作过程中,题画诗数量高达八百余首,占其诗歌总量的三分之一,是一个十分重要的构成。吴昌硕题画诗是其创作经验、艺术理论的主要载体,蕴含很高的美学研究价值;同时也是其人生阅历、情感思想的真实记录,从侧面反映清末诗坛风气、诗学潮流,具有较高的文学研究价值。本文以《吴昌硕题画诗笺评》收录的八百一十四首诗作为基础资料,辅以《缶庐集》和《吴昌硕谈艺录》等文献著作;不仅在体裁和题材方面用定量分析的方法横向比较了吴昌硕题画诗,还将其与历代名家题画诗进行了多角度、多方位的纵向比较,力图准确总结吴昌硕诗作特色,深入挖掘其艺术内涵,客观评价其历史地位;并结合晚清韵社会背景与诗坛流派,论述了吴昌硕题画诗创作的背景及源流,探讨了吴昌硕题画诗的艺术特征,研究了吴昌硕题画诗三大“符号”的涵义。关键词:吴昌硕;题画诗;源流;艺术特征;符号 ABSTRACT ABSTRACT WuChangshuo who was known asthelateQing Dynasty last one isthefirst modem one Chinesepainting master,and haveachievements infourareasofpoetry, calligraphy,painting,stone hissixty years process ofpoetry writing, poems on painting up toeight hundred,one-third ofthetotalofitspoetry,is avery Changshuo’Spoems onpainting isthemaincarrierof the creativeexperience and arttheory,containing thevalueoflligh aestheticresearch. ney reflecting theendoftheQing poetry atmosphere andpoetic trend,are also a truerecordofhislifeexperiences and emotional thinking,containing higher the valueofliterary studies. Inthispaper,the 814poems included in”Review ofWu Changshuo’S poems on painting”,”Fou Luset”,”Wu Changshuo’S artQuotationsas”were thebasis of parison withquantitative analysis oftheWu Changshuo poem on painting notonly ingenreandsubject maRer,but alsowiththeancient masterspoem on painting from variousangles,multi—faceted,trying urately summarize Wu Changshuo poetry features,digging ontent,objective evaluating its bined、析廿1 thesocialbackground and thepoetry genre inthe lateQing Dynasty,discussing thebackground andorigins ofWuChangshuo’S poems on paintingcreation,exploring the artcharacteristicsofWuChangshuo’S poems on painting,studying themeaning ofthreesymbols ofWuChangshuo’S poems on painting. KeyWords:WuChangshuo;Poems onPaintings;Origin;Artisticfeatures;Symbol 绪论绪论“十指参成香色味,一拳打破古来今”本是吴昌硕用以赞美虚谷禅师画作隽雅古朴、独具匠心的题诗,但在细细品味吴昌硕的画与诗后,我们可发现将这两句话置于吴昌硕自身也十分贴切。尽管苏轼“诗画一律”的美学理论一经提出,在世人纷纷附议中,分属不同艺术领域的诗歌与绘画便成为了文人创作的“双胞胎"——“东坡以诗为有声画,画为无声诗。盖诗者心声,画者心画,