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題名:杜甫之書畫鑑賞與抒懷--以成都期為本
書刊名:東南學報
作者:林瑛瑛
作者(外文):Lin, Ying-ying
出版日期:2011
卷期:36
頁次:頁213-225
主題關鍵詞:杜甫題畫詩成都時期書畫鑑賞Du FuPainting poetryChengdu periodPainting appreciation
原始連結:連回原系統網址new window
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  • 共同引用共同引用:881
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摘 要 緣於生活經驗的累積與歷史、地理環境之影響,作家之創作風貌因而有所改變。 杜甫藉書畫而吟詠的作品,以寓居成都時期為多,本文即以此期之書畫吟詠作品為 本,先探究其原因,再分別闡述杜甫書畫鑑賞的特質,並進一步分析其觀畫情懷。 就杜甫所抒發之書法藝術觀,可發現其對書法源流及諸書家之體妙通神處,皆掌 握得貼切允實;而杜甫對畫藝之品評,亦具專門鑑賞家之器識,融入一已之情懷,詩 畫融合無間,極具特色。杜甫之書畫鑑賞皆具獨特之識見,其有關書畫之題詠,除表 現獨特的鑑賞外,更投入對畫家之憐愛,涉及世事之議論,注入一己之情感,熔畫面 與時代,個人的際遇為一爐,與之產生共鳴;可見其詩藝與畫藝、書藝融合無間,顯 露其藝術修養。 詩人的思想藉景、物等形象流露,以渲洩心中蒼涼之思。綜其情意,可得二大 端;一為戮力天下之襟抱,二為避世隱居之思。詩人心弦與畫面交感,藉咫尺之幅展 開萬里天地,心中的鬱結方得淋漓抒發,我們亦能感受詩人面對世道的深摯關懷。
Abstract Due to the accumulation of life experience and the influences of history and geography environments,the writing styles of the writers have changed into their works. The chants of Du Fu’s works were made by the painting and calligraphy , and lots of chants were madewhen he lived in Chengdu. This chapter was based on the chants of the painting and calligraphy to explore the reasons at first , and then described the characteristics of Du Fu’s appreciation and sentiment of painting and calligraphy. Furthermore, analysed his emotions and feelings by watching paintings. The expression of the art of calligraphy from Du Fu could be found he was good skilled at all original calligraphy and every type , and he could master in a appropriate way; however, Du Fu’s comments on the painting of art were also had powers of connoisseurs , having the feelings on his own and mixing the poetry and the painting which were very unique. Du Fu’s painting and calligraphy were shown in unique performances. The odes of the related painting and calligraphy could not only display the unique appreciations but also put the affection into the artists. Involving the comments of the events ,infusing emotions with his feelings ,melting the ages and aspects and having the personal fortune as a side which could sympathize with each other. It could see vividly that the poetry , paintings and calligraphy merged with together and revealed the artistic culture. The poets’ minds were revealed by scenes , images and so on. They could vent the bleak thought in their mind. By integrating the feelings,we can realize two points ; one is to pull together in arms and the other is the thought of retreating and retiring from the world.The poets’ hearts and scenes wove each other and they were expanded thousands of miles by a bit of distance. The depressing hearts could describe beautifully and we can feel the sincere concerns about the world from the poets.
期刊論文
1.黃明理(1989)。論杜甫〈丹青引〉之韓幹畫馬。國文天地,44。  延伸查詢new window
2.簡恩定(1989)。杜甫〈丹青引〉:「幹惟畫肉不畫骨,忍受驊騮氣凋喪」。國文天地,47。  延伸查詢new window
3.傅含章、楊雅惠(2006)。論杜甫題畫詩之審美觀。嘉義大學通識學報,4。  延伸查詢new window
4.戴麗珠(2008)。李杜題畫詩之意涵。孔孟學報,86。  延伸查詢new window
5.戴麗珠(2009)。題畫詩之起源與演變。孔學與人生,46。  延伸查詢new window
6.傅含章、楊雅惠(2006)。李杜題畫詩之意涵。孔孟學報,86。  延伸查詢new window
7.施筱雲(2009)。杜甫論詩題畫詩中的美學關。新生學報,4。  延伸查詢new window
學位論文
1.康湘敏(2010)。宋元之際逸民畫家題畫詩研究(碩士論文)。國立中央大學。  延伸查詢new window
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3.楊倫(198608)。杜詩鏡詮。臺北市:華正書局。  延伸查詢new window
4.俞劍華(1975)。中國繪畫史。臺北市:華正書局。  延伸查詢new window
5.張懋鎔(1989)。書畫與文人風尚。台北:文津出版社。  延伸查詢new window
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7.簡明勇(1984)。杜甫詩研究。臺北市:學海出版社。  延伸查詢new window
8.王嗣奭(1986)。杜臆。臺灣中華書局。  延伸查詢new window
9.王伯敏(1993)。唐畫詩中看。台北:東大圖書公司。  延伸查詢new window
10.李浴(1983)。中國美術史綱。臺北市:華正書局。  延伸查詢new window
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13.徐復觀(1984)。中國藝術精神。臺北:臺灣學生書局。new window  延伸查詢new window
14.鄭昶(1982)。中國畫學全史。台北:中華書局。  延伸查詢new window
15.張少康(1989)。古典文藝美學論稿。淑馨出版社。  延伸查詢new window
16.(1959)。滄浪詩話。臺北:藝文印書館。  延伸查詢new window
17.杜甫、王洙(1967)。杜工部集。臺北:臺灣學生書局。  延伸查詢new window
18.杜甫、浦起龍(1979)。讀杜心解。鼎文書局。  延伸查詢new window
19.朱景玄(1983)。唐朝名畫錄。臺北:臺灣商務印書館。  延伸查詢new window
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23.黃奕珍(2005)。杜甫自秦入蜀詩歌評論。臺北市:里仁書局。new window  延伸查詢new window
24.祝嘉(1983)。書學簡史。臺北市:華正書局。  延伸查詢new window
25.朱孟實(1985)。中國古代美學史論叢。臺北市。  延伸查詢new window
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28.劉維崇(1969)。杜甫評傳。臺北市:商務印書館。  延伸查詢new window
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