Ming-Qing Paintings Inscribed with Du Fu’s Poetic Lines

Ronald Egan
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Abstract

Ming-Qing painters who engaged in the increasingly widespread practice of inscribing lines from Tang and Song poems on their paintings were especially drawn to Du Fu. It was not only Du Fu’s fame but also the intrinsic qualities of his lines that appealed to and challenged the artists as they rendered Du Fu’s couplets in a different medium. This chapter looks at the interaction between the new paintings and old poetic lines that the artists themselves added to their paintings, focusing on two albums of Du Fu’s Poetic Thoughts by the seventeenth-century painters Wang Shimin and Shitao. The styles of these two artists diverge sharply, but so too do the ways they adapted their paintings to Du Fu’s lines. Their creative and divergent representations of the Tang poet’s lines may be viewed as another component of Du Fu’s legacy. It is one that, to be sure, lies outside of literary history but is very much a part of aesthetics and cultural history.
清代杜甫诗行题画
在画上题写唐诗和宋诗的明清画家越来越普遍,他们特别喜欢杜甫。艺术家们将杜甫的对联以一种不同的方式呈现,这不仅是杜甫的名声,也是他的诗句的内在品质吸引和挑战着艺术家们。这一章着眼于艺术家们自己在画作中添加的新画和旧诗线之间的相互作用,重点放在17世纪画家王世民和石涛的两本杜甫的《诗情画意》专辑上。这两位艺术家的风格截然不同,但他们根据杜甫的线条改编画作的方式也大相径庭。他们对唐诗的创造性和不同的表达可能被视为杜甫遗产的另一个组成部分。可以肯定的是,它不属于文学史,但却是美学和文化史的重要组成部分。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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