題畫文學與圖像意境的探討--兼論雨與傘系列創作

王友聖

指導教授 ： 王友俊

國立臺灣師範大學/藝術學院/美術學系/碩士(2004年)

摘要

題畫文學與圖像意境的探討
－－兼論雨與傘系列創作

論文摘要

畫贊、題畫詩、題記、論畫、畫跋等形式，是文字參透繪畫圖像的演化過程，詩書畫三者的融合增加藝術審美形式的可能性。蓋詩詞語言利用文字傳達人類的情感，而繪畫圖像則透過形象顯示景物的空間，在意境上、在觀念上都是離不開共同的文化思維。本次論文的撰寫格式，從兩方面展開，一是客觀的論述探討，針對於詩書畫三者的關係，作一縱向連結探究的可能性；另一則為主觀的創作課題，利用本研究的題形，試作一系列的創作。
在論述的部份，首先從考古資料探索書畫的關係，再以文獻資料輔助論證書畫的發展，進而推論詩、書、畫三者關係的互輔互參，著重於題畫文學與圖像意境之間的互動，從唐代王維開始詩境轉成畫境，開啟文人繪畫的新指標，這個繪畫觀念的新美學得到宋代文人蘇軾、米芾、黃庭堅等的推崇，以筆墨畫意寫出文詞詩意，而院畫家的代表宋徽宗也以題畫詩的觀念為繪畫道出畫外之意，繼而元代趙孟頫提出文人畫的筆墨精神，實有將畫外之意與言外之形統合的趨向，使得文人畫的藝術風格朝詩書畫三者合一的方向發展，明代董其昌提出南北宗說法後，使得文人畫的藝術風格走向繪畫藝術的高峰，清代乾隆之後，文人畫走向陳陳相因的格式，題詩成了繪畫圖像的必要條件。從整個題畫文學與圖像意境的縱向發展看來，文字參透圖像時，文字有輔助圖像意境的功能，而文字與圖像互不關聯時，詩詞可能成了圖像意境的最大累贅。
關於系列創作的部份，本次以詩意圖的題形與詩詞語法的轉換為創作的來源，更以題畫詩詞研究作為創作的背景，利用詩詞語句的意境轉換為創作圖像的意境，以詩詞語法的表現手法溶入創作技法之中，而著重於物象、意象及心象表現上的描寫。

關鍵字

題畫文學 ； 圖像意境 ； 物象描寫 ； 意象組合 ； 心象造境

並列摘要

A Study of Inscription Literature and Pictorial Conception:
the Rain and Umbrella Series
Abstract
Eulogy, inscriptive poem, inscription, critique and colophon of Chinese paintings are different forms of transformation of words into pictorial presentation. The integration of poetry, calligraphy and painting enhances aesthetic possibility. Poetry is able to transmit human sensibilities through words while pictorial image visualizes the space of scenery. Artistic conception and perception cannot be detached from the common culture and mode of thinking. The study focuses on two aspects. Firstly, the development of relationship among poetry, calligraphy and painting will be discussed chronologically. The subject of this study will be treated as topic of a series of artistic creation.
In the written part, archaeological findings are used to investigate the relation of calligraphy and painting. Then, literature helps to demonstrate the development of painting and infer the complementary relationship of poetry, calligraphy and painting. Attention then pays especially on the interaction of inscription literature and pictorial conception. From Tang dynasty Wang Wei started to transfer a poetic landscape into a picturesque one. The idea brought literati painting into a new dimension and this new painting conception and aesthetics were praised highly and adapted not only by the Song literati such as Su Shi, Mi Fu and Huang Ting-jian but also the Emperor Hui-zong. Literati applied brushwork of painting to present poetic aesthetics while Emperor Hui-zong, the representative figure of court painters, used the concept of inscriptive poem to extend the artistic implication further than the painting itself. The advocacy of Zhao Meng-fu of Yuan dynasty advanced the literati spirit of brushwork and unified the ideas and forms beyond images and words. These efforts made poetry, calligraphy and painting become the three excellences of literati painting. The suggestion of South and North School by Dong Qi-chang led such form of literati painting to unprecedented height. After the Qianlong period of Qing, inscriptive poem turned into undividable part of painting and the so-called three excellences became no more than a format. In conclusion, infiltration of poetic language enhances the pictorial conception, however, when the internal connections between words and images have broken, words become nothing but the burden of pictorial conception.
Interchange of theme and poetic language grammar is the source of creation of poetic painting. The main objective of the artistic work is to study the transformation of poetic landscape from inscriptive poetry to picturesque one and the adaptation of poetic grammar into artistic technique. The emphasis is to depict the motif, the image and the image of the mind.

參考文獻

1987年《關於唐寅的研究》江兆申 國立故宮博物院

1986年《中國山水詩研究》王國瓔 聯經出版事業

1997年〈一樁歷史的公案—「西園雅集」〉衣若芬《中國文哲研究集刊》第十期

1971,“The Chinese Literati on Painting：SuShih to Tung Ch’I-ch’ang”Susan Bush ,Harvard University Press.

參考書目