蘇軾題畫詩與意境之拓展

Su Shi's Poems Inscribed on Paintings and the Enlargement of Artistic Mood

繪畫之局限，詩歌可以相濟；詩歌之藝術，繪畫往往借鏡之。因此，詩與畫由於同趣，故會通較易；又因異迹，故借鏡可成。本論文先從蘇軾題畫詩48首中挑出21首，論述蘇軾用心於筆墨之外，盡心致力於畫面之生發，與意境之拓展者有四：（一）平遠迷遠，廣漠無涯；（二）以大觀小，尺幅千里；（三）包孕豐富，象外見意；（四）虛實相成，再創畫境。此四者又可歸納為兩種方法：其一，開發遺妍，題畫詩以時間流動突破空間定格，救濟繪畫之局限；就畫本之召喚結構，開發其中之空白處、模糊處、不確定處，如題畫詩對平遠迷遠之詮釋，及虛實相成之解讀。其二，創意造境，題畫詩不以複製畫面為已足，尤其盡心於有限展延無限，因形象生發韻味，如尺幅千里、包孕豐富之經營設計是也。宋吳龍翰所謂「畫難畫之景，以詩湊成」；沈德潛所謂「畫家未到者，詩能神會之」，此之謂也。

Painting and poetry are complementary to each other-where painting fails, poetry may speak for it and vice versa. As such, owing to the commonality they share, painting and poetry are complements; and because of the difference in their modes of expression, painting and poetry may serve as intertexual references. This paper focus on Su Shi's twenty-one poems inscribed on paintings, with aims to explicate Su Shi's devotion to produce brilliant and exquisite imagery through his works-both in paint and in pen. His enlargement of artistic mood are characterized by: 1) ＂ping-yuan and mi-yuan＂ marked by endlessness and boundlessness; 2) metonymy, through which the macro-panorama is epitomized in micro-scenery; 3) abundant implication and rich connotation; 4) complement of ＂xu＂ and ＂shi＂, which creates another artistic dimension. The four features may be generalized into two: 1) to speak for the unspeakable, that is, poems inscribed on paintings dismantle the demarcation between space and time, serving as a supplement to painting. Based on the response-inviting structure of painting, poems inscribed on paintings can also convey the ＂unsaid＂ concept in painting, such as the interpretation of ＂ping-yuan and mi-yuan＂ and complement of ＂xu＂ and ＂shi＂; 2) creating unique artistic mood, meaning that poem inscribed on painting is more than merely copying painting, rather, it attempts to reach out for infinity via the presentation of imagery and concepts. That the macro-panorama is epitomized in micro-scenery is the best example. Wu Longhan's saying that ＂where paint fails, pen prevails＂ and Chen Deqian's ＂the absent of the painter is the present of the poet＂ best exemplifies this idea.