陸治《唐人詩意圖冊》研究
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2021
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目前藏於蘇州博物館的《唐人詩意圖冊》為陸治於1556年所繪，為一套有十二幅圖繪的圖冊，每一幅圖繪上的內容則根據圖繪上題寫的唐、宋詩詩句而作。明代畫家也有以詩句入畫的作品，但若將焦點集中在以前人詩句入畫的圖冊創作，陸治的《唐人詩意圖冊》是常被忽略的作品。本文將以陸治《唐人詩意圖冊》為中心，探討《唐人詩意圖冊》中的詩畫關係，並透過分析宋、元、明中期作品中的詩畫關係，試著找出陸治在處理詩畫關係上的承繼與創新。論文首先討論陸治《唐人詩意圖冊》的風格與內容，以南宋風格的構圖，與承襲自文徵明傳統的筆描，內容則以唐、宋詩句入畫，其中題句為詠景與個人情志為主要的選擇標準。又因畫冊的圖繪並無確切的順序，透過對《唐人詩意圖冊》開頁的編排，發現四季為陸治隱含在背後的創作邏輯。為了使陸治創作《唐人詩意圖冊》的手法與模式更加清晰，本文回顧了宋、元、明代中期以前的詩意圖繪，以此建立詩畫關係發展的脈絡。藉由《唐人詩意圖冊》的圖繪，對陸治處理詩畫關係手法加以分析，觀察自宋、元、明傳統的學習並另闢新意。重新了解陸治詩意圖冊的創作下，將《唐人詩意圖冊》放入明代詩意圖發展的脈絡上來看，對明代中、晚期後大量出現的詩意圖冊中的詩畫關係提供新的角度。
The “Album of paintings after Tang Poems” currently in the collection of the Suzhou Museum was painted by Lu Zhi in 1556. The album contains altogether twelve paintings with the content of each of the paintings based on poems of the Tang and Song dynasties. There have been other painters during the Ming period who created paintings based on poetry, but earlier works such as Lu Zhi’s “Album of paintings after Tang Poems” have often been overlooked by researchers. Focusing on Lu Zhi's “Album of paintings after Tang Poems”, this thesis will discuss the relationship between poetry and painting. Through an analysis of the relationship between poetry and painting of works during the Song, Yuan, and Ming periods the inheritance and innovation in Lu Zhi’s work will be demonstrated. First, the style and content of Lu Zhi’s “Album of paintings after Tang Poems” will be discussed. While the composition shows clear references to Southern Song style, the brushwork steps into the tradition of Wen Zhengming. The content is based on Tang and Song verses with poems expressing praise and interest in landscape as well as a personal sentiment as standards of selection. As there is no firmly established sequence for the paintings contained in the album, through the arrangement of the painting sequence, the “four seasons” can be assumed to be the hidden logic in Lu Zhi’s creative arrangement. In order to further clarify the creative techniques and patterns of Lu Zhi’s “Album of paintings after Tang Poems”, the thesis will review the modes of the poetic painting of the Song, Yuan, and early Ming dynasties to establish the context of the unfolding relationship between poetry and painting. By exploring Lu Zhi’s creative methods and techniques of negotiating the relationship of poetry and painting in his “Album of paintings after Tang Poems” of Song and Yuan traditions, as well as the artist’s own artistic innovation will become clear. Through a new understanding of Lu Zhi’s work, and put “Album of paintings after Tang Poems” into the development of “pictures on poetry” in the Ming dynasty, the thesis offers a new perspective on the relationship of poetry and painting that was going to appear in great quantities of artistic production in the middle and late periods of the Ming dynasty onwards.
The “Album of paintings after Tang Poems” currently in the collection of the Suzhou Museum was painted by Lu Zhi in 1556. The album contains altogether twelve paintings with the content of each of the paintings based on poems of the Tang and Song dynasties. There have been other painters during the Ming period who created paintings based on poetry, but earlier works such as Lu Zhi’s “Album of paintings after Tang Poems” have often been overlooked by researchers. Focusing on Lu Zhi's “Album of paintings after Tang Poems”, this thesis will discuss the relationship between poetry and painting. Through an analysis of the relationship between poetry and painting of works during the Song, Yuan, and Ming periods the inheritance and innovation in Lu Zhi’s work will be demonstrated. First, the style and content of Lu Zhi’s “Album of paintings after Tang Poems” will be discussed. While the composition shows clear references to Southern Song style, the brushwork steps into the tradition of Wen Zhengming. The content is based on Tang and Song verses with poems expressing praise and interest in landscape as well as a personal sentiment as standards of selection. As there is no firmly established sequence for the paintings contained in the album, through the arrangement of the painting sequence, the “four seasons” can be assumed to be the hidden logic in Lu Zhi’s creative arrangement. In order to further clarify the creative techniques and patterns of Lu Zhi’s “Album of paintings after Tang Poems”, the thesis will review the modes of the poetic painting of the Song, Yuan, and early Ming dynasties to establish the context of the unfolding relationship between poetry and painting. By exploring Lu Zhi’s creative methods and techniques of negotiating the relationship of poetry and painting in his “Album of paintings after Tang Poems” of Song and Yuan traditions, as well as the artist’s own artistic innovation will become clear. Through a new understanding of Lu Zhi’s work, and put “Album of paintings after Tang Poems” into the development of “pictures on poetry” in the Ming dynasty, the thesis offers a new perspective on the relationship of poetry and painting that was going to appear in great quantities of artistic production in the middle and late periods of the Ming dynasty onwards.
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陸治, 唐詩, 詩意圖, 詩畫關係, Lu Zhi, Tang poems, poetic painting, relationship between poetry and painting