發(fā)布時(shí)間：2017-12-28 12:18

  本文關(guān)鍵詞：題畫(huà)詩(shī)緣起研究　出處：《武漢大學(xué)》2017年碩士論文　論文類(lèi)型：學(xué)位論文

  更多相關(guān)文章： 題畫(huà)詩(shī) 緣起 六朝 審美

【摘要】：隨著跨學(xué)科研究在學(xué)術(shù)界的勃興,作為詩(shī)畫(huà)交匯碰撞產(chǎn)生的文學(xué)樣式,題畫(huà)詩(shī)走進(jìn)了越來(lái)越多研究者的視野之中,關(guān)于其獨(dú)特的文學(xué)特征和審美價(jià)值,歷來(lái)學(xué)者己多有探討,然而這種探討集中在題畫(huà)詩(shī)繁榮發(fā)展的唐宋元明清時(shí)期,其早期緣起過(guò)程沒(méi)有得到學(xué)界足夠的關(guān)注和重視。題畫(huà)詩(shī)緣起于六朝時(shí)期,由于此階段題畫(huà)詩(shī)的藝術(shù)形式不夠完備,數(shù)量較少,故而少有研究者涉及,但從文體生成角度來(lái)看,一種文體的緣起往往決定著它的存在方式和未來(lái)發(fā)展演變,因此對(duì)題畫(huà)詩(shī)緣起階段的關(guān)注至關(guān)重要。本文以題畫(huà)詩(shī)緣起為研究對(duì)象,深入探討題畫(huà)詩(shī)之所以產(chǎn)生的各方面因緣,以期充分說(shuō)明六朝題畫(huà)詩(shī)存在的合理性,并對(duì)題畫(huà)詩(shī)緣起在整個(gè)題畫(huà)詩(shī)發(fā)展中的意義有一個(gè)更加清晰的認(rèn)識(shí)。緒論部分論述了題畫(huà)詩(shī)緣起的研究現(xiàn)狀。關(guān)于題畫(huà)詩(shī)緣起的研究目前主要集中在兩個(gè)方面,一是對(duì)題畫(huà)詩(shī)起源開(kāi)端的探討,二是在梳理題畫(huà)詩(shī)發(fā)展過(guò)程中對(duì)題畫(huà)詩(shī)緣起階段進(jìn)行簡(jiǎn)單概括。第一章論述題畫(huà)詩(shī)的概念和風(fēng)貌特征。題畫(huà)詩(shī)概念部分首先對(duì)題字的含義進(jìn)行分析,認(rèn)為題字不僅有題寫(xiě)之意,還有觀賞評(píng)價(jià)之義。然后對(duì)題畫(huà)詩(shī)進(jìn)行文體辨析,理清了詩(shī)意圖、乞畫(huà)詩(shī)、配畫(huà)詩(shī)、畫(huà)贊、詠畫(huà)扇詩(shī)、詠畫(huà)屏風(fēng)詩(shī)與題畫(huà)詩(shī)的異同,認(rèn)為六朝部分畫(huà)贊、還有詠畫(huà)扇詩(shī)和詠屏風(fēng)詩(shī)可以納入題畫(huà)詩(shī)范疇。最后給出題畫(huà)詩(shī)的廣義和狹義定義,認(rèn)為狹義題畫(huà)詩(shī)是觀畫(huà)后創(chuàng)作并題寫(xiě)在畫(huà)面之上的詩(shī)歌,而廣義的題畫(huà)詩(shī)應(yīng)該是觀畫(huà)而作,內(nèi)容涉及畫(huà)面的詩(shī)歌。在理清題畫(huà)詩(shī)概念問(wèn)題之后,從內(nèi)容和藝術(shù)形式兩個(gè)方面概括了題畫(huà)詩(shī)的風(fēng)貌特征,為下文深入題畫(huà)詩(shī)緣起研究奠定研究基礎(chǔ)。第二章概述題畫(huà)詩(shī)的緣起過(guò)程。從中國(guó)文字語(yǔ)言與圖像關(guān)系的歷史發(fā)展入手,分析從漢代人物畫(huà)像題榜到畫(huà)贊、畫(huà)頌、銘文,再到詠畫(huà)扇詩(shī)、詠屏風(fēng)詩(shī)這一過(guò)程中語(yǔ)圖關(guān)系的發(fā)展變化,闡釋題畫(huà)詩(shī)在文字繪畫(huà)內(nèi)容上結(jié)合越來(lái)越緊密的過(guò)程中產(chǎn)生。第三章論述六朝社會(huì)風(fēng)氣與題畫(huà)詩(shī)緣起關(guān)系。深入探討六朝文人如何在當(dāng)時(shí)社會(huì)的詠物、銘物、宮體詩(shī)創(chuàng)作風(fēng)氣和文學(xué)繪畫(huà)創(chuàng)作互融的風(fēng)氣影響下熱衷于繪事,并將審美眼光轉(zhuǎn)向繪畫(huà)圖飾,對(duì)畫(huà)本身進(jìn)行細(xì)致刻畫(huà)。第四章論述六朝詩(shī)畫(huà)新發(fā)展與題畫(huà)詩(shī)緣起的關(guān)系。深入分析詠物詩(shī)寫(xiě)作技法、宮體詩(shī)畫(huà)面捕捉技法、山水畫(huà)觀賞、創(chuàng)作模式以及山水詩(shī)創(chuàng)作手法對(duì)六朝文人題畫(huà)詩(shī)創(chuàng)作生成的影響。第五章論述六朝文人審美心態(tài)與題畫(huà)詩(shī)緣起的關(guān)系。從六朝文人的審美注意、審美想象、審美人格三個(gè)層面對(duì)六朝文人審美心態(tài)進(jìn)行剖析,并探討它們?yōu)榱娜祟}畫(huà)詩(shī)創(chuàng)作提供的心理基礎(chǔ)和精神動(dòng)力。論證六朝文人審美心態(tài)對(duì)題畫(huà)詩(shī)生成緣起的作用。
[Abstract]:Along with the development of interdisciplinary research in the academic circles. The intersection collision as poetry and literary style, poems into more and more researchers view, about its unique features and aesthetic value of literature, scholars have discussed many, however, this discussion focuses on the prosperity and development of the poems of Ming and Qing Dynasties period, the the early origin of the process did not get enough attention in academic circles. Tihuashi originated from the Six Dynasties period, due to the stage of painting poems art form is not complete, the number is less, so few researches, but from the perspective of the origin of the generation of style, a style often determines its existence and development in the future, it is crucial to draw attention stage poem origin problem. In this paper, the origin of the poems as the research object, the causes of in-depth study of poems was born, in order to fully explain the rationality of the existence of the poems, and have a more clear understanding of the meaning of poems in the origin of poems in the development. The introduction part discusses the research status of the origin of the poems. Study on the origin of the poems are mainly concentrated in the two aspects, one is to discuss the origin of the beginning of the two poems, is a simple generalization of tihuashi origin stage in the development process of combing poems. The first chapter discusses the concept and features of painting poems. Tihuashi concept part of the inscription meaning analysis, that the inscription not only inscribed in Italy, as well as ornamental evaluation of righteousness. Then a stylistic analysis of painting poems, clarify the similarities and differences of poetry, painting, poetry for poetry, art, poems with paintings painting fan poetry, chanting poetry and painting screen poems, art, and part of that six Yong fan painting poetry and singing poems can be incorporated into the category of wind screen. Finally to the topic of the broad and narrow definition of painting poems, poems is the narrow sense concept of painting after creation and inscribed in the picture of poetry, and generalized poems should be the concept of painting and poetry, content involves the picture. After clarifying the poems from the aspects of concept, content and artistic form two summarizes the features of painting poems, which lays a foundation for further research on the origin of the poems below. The second chapter outlines the origin of the process of painting poems. Starting from the historical development of the relationship between Chinese text language and image analysis, from the Han Dynasty portrait art, painting to list title song, inscription, to chant poems, poems on painting fan change screen of wind in the process diagram language, interpretation of poems combine to produce more and more closely in the process of painting in the text content. The third chapter discusses the social ethos and tihuashi origin relations. The writers discuss how to chanting, in the society at that time, Ming Palace poetry creation atmosphere and literary painting interaction atmosphere under the influence of keen on painting, and the aesthetic vision to painting patterns, the paintings depict itself. The fourth chapter discusses the relationship between the new poetry and the poems of the origin and development. Deep analysis of Yongwu poetry writing techniques, poetry and landscape painting techniques to capture the effect of screen viewing, creation mode and landscape poetry creation of the poets poems generated. The fifth chapter discusses the relationship between the literati aesthetic mentality and the origin of the poems. To analyze the aesthetic mentality of the scholars from the face of the Six Dynasties literati aesthetic attention, aesthetic imagination, aesthetic personality of the three layer, and explore the psychological basis and spiritual motivation they provide for poems of the six dynasties. The role of the scholars to demonstrate the aesthetic mentality of the poems of origin.
【學(xué)位授予單位】：武漢大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：I207.22;J212

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