从高唐到晚唐的绘画诗

IF 0.3 4区 社会学 0 ASIAN STUDIES Early Medieval China Pub Date : 2021-01-01 DOI:10.1080/15299104.2021.1974732
Ronald Egan
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引用次数: 1

摘要

在盛唐时期,题诗的做法得到了新的重视,这是文学史上一个众所周知的方面。诗人对待诗歌中绘画的方式在八世纪末和九世纪再次发生变化,这是一个不太为人所知的发展。本文着眼于这种变化,并分析了它的几种表现,包括对绘画“幻觉”的新处理,画家与艺术的关系,以及绘画与诗歌的关系。还简要讨论了后期诗人与他们所写的画家之间新的亲密关系。这些变化预示着“文人画”在北宋时期的出现,并使我们能够将晚唐时期视为前后绘画诗意处理之间的重要过渡桥梁。
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Poems on Painting from the High Tang to Later Tang Periods
That the practice of inscribing poems on paintings was brought to new prominence during the High Tang period is a well-known aspect of literary history. That poets’ ways of treating paintings in poems changed again in the late eighth and ninth centuries is a less well-known development. This article looks at that change and analyzes several of its manifestations, including new treatments of the “illusion” of painting, the relationship of the painter to his art, and the relationship of painting to poetry. Also briefly discussed is the new closeness between the poets of the later period and the painters they wrote about. Several of these changes anticipate the emergence of “literati painting” in the Northern Song period and allow us to see the later Tang period as an important transitional bridge between poetic treatments of painting before and after it.
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来源期刊
Early Medieval China
Early Medieval China ASIAN STUDIES-
CiteScore
0.30
自引率
0.00%
发文量
8
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