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詩、畫、禪與蘇軾、黃庭堅詠竹題畫研究 - 以墨竹題詠與禪趣、比德、興寄為核心=Poetry, Painting, and Chan Buddhism: A Study of Inscription Poems on Paintings of Bamboo by Su Shi and Huang Tingjian, with a Focus on the Interaction between Poems Inscribed on Paintings of Bamboo in Black Ink, Chan Buddhist Aesthetics, and Metaphorical Representation of Moral Character
Author 張高評 (著)=Juang, Gau-ping (au.)
Source 人文中國學報=Sino-Humanitas
Pages1 - 42
Publisher Url
Location九龍, 香港, 中國 [Kowloon, Hong Kong, China]
Content type期刊論文=Journal Article
Keyword墨竹=ink-painted bamboo; 墨戲=playful ink painting; 游戲三昧=profound delight in recreation; 比德興寄=metaphorical representation of virtuousness; 題畫詩=poems inscribed on paintings; 蘇軾=Su Shi; 黄庭堅=Huang Tingjian

One typical aspect of the zeitgeist of the Song dynasty is ”comprehension and transformation.” The inscription of poems on paintings was a prominent trend that represents the unique aesthetics of the time. The concept that poetry and painting should be treated as the same art type was prevalent from the Yuanyou reign period (1086-1094) of the Northern Song. The ink and wash paintings by literati in the Song, who lived in a Chan Buddhist culture, always displayed this aesthetic quality. Likewise, poets also found profound delights in their somewhat playful Chan Buddhist style inscription poems on these paintings.In the Song, bamboo was regarded as one of ”the three friends of wintertime” and one of ”the four gentlemen of high morality.” Literati were fond of bamboo because its image was laden with symbolic meanings: the hollowness inside represented generosity; the nodes referred to integrity; its evergreen nature symbolized longevity; towering toward the sky reflected aspiration; strength showed perseverance; and softness and toughness reflected flexibility. Therefore, bamboo became a common object in poetry and paintings which focused mainly on the plant's virtuous qualities, such as: having a strong footing, being upright in nature, having a broad mind, and being chaste.The present article is a study of inscription poems on paintings of bamboo written respectively by Su Shi (1037-1101) and Huang Tingjian (1045-1105). Su wrote poems on ink bamboo, ink and wash landscape paintings, and paintings of withered trees. Huang also wrote eleven poems on ink and wash bamboo, and some others on horizontal bamboo, reposing bamboo, bamboo and stone, painting bamboo, green bamboo, bamboo amidst wind and rain, and other related subjects such as bamboo, rocks, and pasturing cattle. These poems are metaphors for moral character, or a means by which the poet expresses certain feelings. The wondrous description is combined with painting skills and reaches a highly profound level of aesthetic appeal, which marks the achievement of the unification of poetry, painting, and Chan Buddhism. The interdisciplinary products bear a distinguished feature. In his Hand copied Song Poems, Wu Zhizhen (1640-1717) of the Qing dynasty quotes Cao Xuequan's (1574-1647) ”Preface to Song Poetry”: the main characteristics of Song poetry include ”a wide range of themes and their profound meanings.” These characteristics are reflected in Song inscription poems on ink and wash paintings.
Table of contents一、前言 2
二、墨戲:南宗禪、文人畫與題畫詩 3
(一)南宗禪與文人畫 4
(二)詩、畫、禪與游戲三昧 5
三、蘇軾、黄庭堅詠竹與寄興、比德、禪趣 7
(一)寄興寫意 8
(二)比德審美 12
(三)游戲三昧 15
四、蘇軾、黄庭堅墨竹題畫詩與禪趣、比德 17
(一)游戲三昧 20
(二)比德審美 27
五、結論 30

ISSN15622754 (P); 15622754 (E)
Created date2022.11.03
Modified date2022.11.03

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