王维“诗中有画”的模式-《长安大学学报（社科版）》

文章信息/Info

Author(s):: WEI Geng-yuan; School of Humanities, Xi’an Peihua Univeisity, Xian 710125, Shaanxi, China; School of Chinese Language and Literature, Shaanxi Normal University, Xi’an 710062, Shaanxi, China)

Keywords:: WANG Wei; two dimensional spatial superimposition; “shen yuan” and “wai”; movementstillness and color; landscape painting; landscape poetry

摘要:: 通过文献分析与比较论证，分析王维以“诗中有画”形成诗与画的相互交流模式问题。研究认为，王维山水诗有继承南朝与前盛唐传统的一面，更多的是诗与画交流后的创新；王维山水诗中“二维空间叠合”，借助了山水画空间表现的形式；除了山水画的平远外，深远也见于诗中，以及暗示空间的“外”，形成了简洁精约的模式；诗与画中动静、颜色与拟人化的表现，带有颇具个性的模式化的特征，具有经典性。

Abstract:: Regarding Wang Weis interaction mode between poetry and painting formed in “painting in poetry”, it is found that his landscape poetry has inherited the traditional side of Southern dynasties and prosperous Tang dynasty and embodies the innovation after the interaction between poetry and painting. It is suggested that the formation of “two dimensional space superimposition” in Wang Weis landscape poetry is with the aid of spatial expression form of landscape painting; In addition to “ping yuan” in landscape painting, “shen yuan” and “wai” indicating space can be also found in his poetry, forming simple and precise model; The movement and stillness, color and personification in poetry and painting embody the characteristic of personified mode, which is very classic. 