<p class="ql-block"> 詩畫中國</p><p class="ql-block"> ——遼博特展第一印象</p><p class="ql-block"> 2月2號我預(yù)約了2月7號遼博的特展詩畫中國，到了門口才發(fā)現(xiàn)票已過期，我下單的居然是2月3號的門票。好在門口的測票系統(tǒng)顯示，票雖過期，但屬實(shí)沒有用過。遼博門口立著的是遼博鎮(zhèn)館之寶——虢國夫人游春圖，也是這次最重要的展品，據(jù)說每八年展出一次。</p><p class="ql-block"> 詩畫中國的特展就設(shè)在一層，一進(jìn)門的前言借用豎排版的形式對展策理念和主要作品做了介紹：</p><p class="ql-block">天地文心，詩畫中國。</p><p class="ql-block">若將中華文明喻作一幅萬古長卷，詩與畫便是其上最靈動絢麗的兩抹亮色。它們井非兩岸相隔，是同一條文化江河中相互映照、彼此激蕩的流波，共同摹寫著我們這個(gè)民族對山川的眷戀、對生命的叩問。</p><p class="ql-block">“遠(yuǎn)看山有色，近聽水無聲”;</p><p class="ql-block">王維的詩句道破了中國藝術(shù)中詩畫交融的至境：</p><p class="ql-block">詩是無形的畫，畫是有形的詩。</p><p class="ql-block">此次“詩畫中國”大展，便是對這份永恒靈光的深情溯源。</p><p class="ql-block">我們以時(shí)間為軸，從《詩經(jīng)》的吟唱啟程，漫游于陶淵明的悠然南山、大唐的雄渾詩篇，直至宋元明清畫作中詩、書、畫的完美融合。</p><p class="ql-block">展覽匯聚來自全國十余家文博重鎮(zhèn)的百余件珍品。《周頌清廟圖》將《詩經(jīng)》風(fēng)雅化為視覺比興；宋摹張萱《虢國夫人游春圖》流淌著杜甫筆下的盛唐氣象，王詵《煙江·登嶂圖"》及后世名家題跋補(bǔ)圖，則演繹著畫意隨詩題生發(fā)的文人雅趣。</p><p class="ql-block">我們更以『桃園問津』『落花詩影』『放翁清味』等主題，打破傳統(tǒng)展陳，邀您步入可聽可感的沉浸空間，于墨痕深處尋覓詩的韻律，在詩行盡頭看見畫的江山。</p><p class="ql-block">愿這束冬日里的文化之光，能引領(lǐng)我們感受那穿越千年、依然鮮活的生命溫度與精神回響。</p><p class="ql-block"> 前言配了英文對照，我和玉榮果斷拍照，以此作為課堂英漢互譯的練習(xí)題。</p><p class="ql-block"> In a world shaped by poetic imagination , China is defined as a land of poetry and painting .</p><p class="ql-block"> If Chinese civilization were imagined as an eternal scroll , poetry and painting would be its two most luminous and animated strokes . </p><p class="ql-block">Far from standing apart like opposite banks , they flow as interreflecting and mutually resonant currents within a single cultural river ,together giving form to the nation ' s enduring affection for its landscapes and its profound reflections on life .</p><p class="ql-block">" The hills are hued , seen from afar ; the pool is mute , as heard nearby ." In these lines , Tang Dynasty poet Wang Wei reveals the highest realm of the interpenetration of poetry and painting in Chinese art : poetry is painting without visible form , and painting is poetry given form . The exhibition China in Poetry and Painting : The Poetic Realm of Chinese Painting is conceived as a heartfelt return to this enduring source of inspiration . Guided by a chronological perspective , the journey begins with the chants of <i>The Book of Songs</i> , wanders through Tao Yuanming ' s tranquil Southern Mountains and the grandeur of Tang Dynasty verse , and culminates in the consummate fusion of poetry , calligraphy , and painting in works from the Song , Yuan , Ming , and Qing dynasties .</p><p class="ql-block"> The exhibition brings together more than one hundred masterpieces from over a dozen major cultural institutions across China , <i>Illustration to Qingmiao from the Hymms of Zhou</i> transforms the refined elegance of <i>The Book of Songs</i> into visual metaphors ; the Song Dynasty copy of Zhang Xuan ' s <i>Lady Guoguo ' s Spring Outing </i>flows with the splendor of the High Tang captured in Du Fu ' s poetry ; while Wang Shen ' s<i> Misty River and Layered Peaks</i> , together with later colophons and supplementary paintings by renowned artists , illustrates the refined scholarly pleasure of pictorial meaning evolving from poetic themes .</p><p class="ql-block"> Through themed sections such as " In Search of the Peach Blossom Spring "." Poetic Echoes at the Flower - Washing Creek " and " The Pure Chants of Fangweng ", the exhibition breaks away from conventional display formats , inviting visitors into immersive spaces that can be heard and felt , where poetic rhythm is sought within the traces of ink , and painted landscapes emerge at the end of poetic lines .</p><p class="ql-block"> May this winter light of culture guide us to the warmth of life and the spiritual echoes that have crossed a thousand years and yet remain vividly alive .</p><p class="ql-block"> 對我而言，詩是我向往而不能至卻又無比熟悉的話題，畫是孩子上大學(xué)以后開始接觸而上癮的領(lǐng)域。將詩歌的內(nèi)容用畫的形式表現(xiàn)出來，就是換一種語言表達(dá)，也是用有形的筆墨描繪無形的東西，到底從哪里入手呢？</p><p class="ql-block"><span style="font-size:18px;">遼博副館長董寶厚下面這段話點(diǎn)到了詩畫之間的關(guān)系，“詩與畫是人們觀照世界、抒發(fā)性情的至美語言，這次展覽旨在深度闡釋中國詩畫同源、交融互鑒的美學(xué)傳統(tǒng)與文化精神。我們希望通過創(chuàng)新策展理念和展陳方式，讓延綿千載的詩畫藝術(shù)與當(dāng)代觀眾心靈相通，實(shí)現(xiàn)實(shí)現(xiàn)跨越時(shí)空的情感共鳴” 。</span></p><p class="ql-block"> 玻璃板上關(guān)于詩與畫的論述也指出了二者的共通之處。“詩者，志之所之也。在心為志，發(fā)言為詩。夫畫者，成教化，助人倫，窮神變，測幽微?！鄙厦娴脑娬摵枚?，下面的畫論有些不好懂。百度一下才知道，這是唐代張彥遠(yuǎn)在《歷代名畫記——敘畫之源流》中提出的，他從社會功能維度，強(qiáng)調(diào)繪畫通過圖像傳遞道德規(guī)范（成教化）和強(qiáng)化宗族倫理秩序，維護(hù)社會等級（助人倫）的作用。同時(shí)，繪畫具備認(rèn)知功能，如探究超自然現(xiàn)象、反映佛道神變思想（即窮神變）、揭示事物本質(zhì)規(guī)律（即測幽微）。張彥遠(yuǎn)的畫論突破了繪畫為雕蟲小技的偏見，首次將繪畫功能分層，從基礎(chǔ)認(rèn)知、中級規(guī)范到高級價(jià)值觀，奠定了中國繪畫史論的基礎(chǔ)。</p><p class="ql-block">這次遼博將同一話題的詩與畫放在一起，且去看看不同時(shí)代的人們是如何使用不同的語言描繪心中所想，眼中所見的種種。</p>