宋元之際逸民畫家題畫詩研究; Painting Poems of Non-official Painters Leading Secluded Lives During the Late Song to Early Yuan Dynasties

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题名:	宋元之際逸民畫家題畫詩研究;Painting Poems of Non-official Painters Leading Secluded Lives During the Late Song to Early Yuan Dynasties
作者:	康湘敏;Hsiang-min Kang
贡献者:	中國文學系碩士在職專班
关键词:	龔開;錢選;逸民畫家;題畫詩;鄭思肖;馬臻;Zheng Sixiao;Ma Zhen;Gong Kai;Qian Xuan;non-official painters leading secluded lives;painting poetry
日期:	2010-01-12
上传时间:	2010-06-11 15:09:01 (UTC+8)
出版者:	國立中央大學圖書館
摘要:	宋元之際逸民題畫詩研究摘要本論文根據鄭思肖（1241~1318）、馬臻（1254~？）、龔開（1222~1307）、錢選（1239~1301）這四位宋元之際逸民畫家的題畫詩，探討他們在畫藝之外的詩歌創作。並藉由詩中呈現的「詩意」，理解他們寫畫鞍馬人物、自然山水、花鳥草木所要表達的「畫意」。第一章探討「逸民」定義、「題畫詩」發展演進與當代詩風等根本問題。第二章到第五章除紀錄四人生平行狀之外，主要將鄭思肖、馬臻、龔開、錢選四人題畫詩作分別論述。第二章分成《一百二十圖詩集》與鄭思肖其他題畫詩兩節。《一百二十圖詩集》可從圖詩取材命題與詩歌主旨等角度，理解思肖創作此組圖詩的寫作手法及用心。鄭思肖其他題畫詩則分成《心史》題畫詩與其題寫「蘭、竹、菊」植物題畫詩。第三章論析馬臻題畫詩。第一節是山水畫題畫詩，研究其山水題詩如何摹山範水與藉景抒情寫志。其他的題畫詩則分成三部分：題他人畫作之詩，見其對他人畫作的鑑賞觀點；題詩以敘事，見其人繪畫歷程、與人交遊與壯遊山水的經歷；見解特出之題畫詩，則從馬臻詠人、詠史、詠物三方面，見其特殊見解。第四章論析龔開十一首題畫詩。分成龔開題馬畫詩與《中山出遊圖》、題《蘇黃像》的人物題畫詩以及山水題畫詩、題他人畫作之詩等其他題畫詩。第五章論析錢選題畫詩。分成山水題畫詩、花鳥蔬果題畫詩、人物題畫詩與評史敘事詠物題畫詩四節。山水題畫詩中，經由山居、待渡、題金碧山水、雪霽望弁山等不同主題，可知錢選寫畫山水的心境呈現。另外在花鳥蔬果題材分成花鳥三圖、素淨三花、秋季瓜茄的題詩。最後是錢選在人物、評史與敘事詠物題畫詩等不同題材的寫畫抒感。第六章除歸納全文，並提出逸民詩畫家「宗唐復古」的藝術追求、「隱逸」的精神依歸、詠物題材的運用與創新與確立中國文人畫的崇高地位等四項結論。 Painting Poems of Non-official Painters Leading Secluded Lives During the Late Song to Early Yuan Dynasties Abstract This thesis discusses the painting poetry of four non-official painters leading secluded lives in the Song and Yuan dynasty, including Zheng Sixiao（1241~1318）, Ma Zhen（1254~？）, Gong Kai（1222~1307）, and Qian Xuan（1239~1301）. It also discusses how they display “the meaning of painting” through their poems on figures riding on horses, landscape, birds and flowers and plants. In chapter 1, the definition of “non-official painters leading secluded lives” is drawn, followed by the development of “painting poetry” and contemporary poetry style. The lives of the four main poets are presented from chapters 2 to 5, in addition to a focus on the individual styles of the painting poems of Zheng Sixiao, Ma Zhen, Gong Kai, and Qian Xuan. Chapter 2 is divided into “Yibai ershi tu shiji (Poems on 120 Paintings)” and other painting poems of Zheng Sixiao. “Poems on 120 Paintings” is a means to study how Zheng Sixiao creates this series of paintings and poems in terms of the materials he selects and the gist he is trying to convey. The second section discusses painting poems from “Xin shi” and painting poems on the orchid, bamboo and chrysanthemum. Ma Zhen’s work is discussed in chapter 3. Painting poems on landscape are discussed in terms of how emotion and ambition are expressed through describing the natural scenery. The rest of the chapter is in three parts: poems on other painters’ works, poems on descriptions of traveling and the painting process, and finally, poems with unique perspectives from the view of portraying individuals, history and objects. Eleven poems of Gong Kai are discussed in chapter 4, including poems portraying horses, “The Zhongshan Outing”, character-oriented poems such as “The Portraits of Su [Shi] and Huang [Tingjian]”, and poems on other painters’ art. The works of Qian Xuan are discussed in chapter 5, including poems on landscape, poems on flowers, birds, and vegetables, poems on characters, history, events and objects. For poems on landscape, the painter’s emotion is revealed through topics such as life in the mountains, waiting for the ferry, gorgeous “gold and green” landscape, and gazing at Mt. Bian after the snow has cleared. Poems about flowers, birds and vegetables fall into three categories: three pictures of birds and flowers, three pure flowers, and finally, autumn melons and eggplants. The last section of this chapter discusses how Qian Xuan expresses his emotion and ideas in painting poems by themes related to characters, history criticism, events and object descriptions. Chapter 6 is a concluding chapter, and points out the painters’ pursuit of “the Tang dynasty model and a return to antiquity”, the painters’ spirit of seclusion, the application and innovation of poems on objects, and the establishment of the lofty position of Chinese literati painting.
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