“詩-圖”學視野下的清代“秋林讀書圖”及其題詩———以翁方綱與同人對“漁洋讀書圖”的題詠爲中心

On the Qing-dynasty Painting “Reading in the Autumn Groves” from the Perspective of the “Poetry-Painting” Relationship, Focusing on Weng Fang-Gang and His Colleagues’ Inscriptions on the Painting of “Yuyang Reading”

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

翁氏和友人、門生關於王士禛“秋林讀書圖”的題詠對該畫題在乾嘉時代文人畫壇的日漸流行和進入詩歌的頻繁題詠潮流中起了一定的帶動作用。作爲一個畫題，“秋林讀書圖”發源於元代畫家，屬於在後世漸盛的“讀書圖”系列畫題中較早出現的，在明清時代比較盛行。因具有濃鬱的士人情調，它成爲文人創作和題詠的對象。“讀書圖”系列畫題具有較强的交際性和私屬性特點，翁氏及其門生、友人對漁洋“秋林讀書圖”的幾十年間的題詠活動體現了這一點。這些題畫詩對於我們認識王士禛與翁方綱的詩學關係、學緣和翁方綱所在的乾嘉時代學風，以及圖畫與詩歌關係的某些面向，都具有重要意義。翁方綱在題寫、欣賞“漁洋秋林讀書圖”過程中，體悟到的詩學旨趣及詩—畫藝術本體論（“詩髓”説）富有理論價值，值得重新認識。

The inscriptions on Wang Shizhen’s (1634-1711) “Reading in the Autumn Groves” by the disciples and friends of Weng Fanggang (1733-1818) boosted the increasing popularity of these kinds of paintings and inscription of poetry on paintings in the Qianlong and Jiaqing eras (1736-1820). The title “Reading in the Autumn Groves” was first created by Yuan-dynasty painters, appeared in a “Reading” series of painting titles that became increasingly popular, and contributed to the formation of a new vogue in the Ming and Qing dynasties. Because of its rich intellectual appeal, it won the favor of the literati and became an object of literary creation and inscription. The series of “Reading” painting titles are strong in both communicative and private features, which is reflected the decades of similar works by Weng Fanggang, his disciples and friends, who inscribed on Wang Shizhen’s paintings under the title “Reading in the Autumn Groves.” These inscription poems are of great significance in our understanding of the relationship between Wang’s and Weng’s poetics, their academic backgrounds, and the scholarship styles of the Qian-Jia era in which Weng mainly lived, as well as some aspects of the relationship between painting and poetry. In the process of inscribing and appreciating these paintings titled “Reading in the Autumn Groves,” Weng Fanggang gained enlightenment in poetics and the ontology of the art of poetry and painting from a cross-disciplinary perspective (called “Marrow of Poetry” theory). These have rich theoretical value and are worth re-consideration.