摘要
作为晚明徽派版画的代表作,《诗余画谱》集词、画、书于一体,是一部不可多得的词意画集。同时从文学接受的角度来看,《诗余画谱》所选词作在词人、题材和风格上都表现出与当时宋词选集不尽相同的选择标准和审美旨趣,体现了刊印者从绘画角度对宋词的独特接受方式,同时也折射出晚明以新安文化为代表的徽派文化的深刻影响。《诗余画谱》不仅是"诗画一律"艺术思想的又一现实蓝本,而且也为我们提供了一个研究宋词接受的新维度。
As the representative work of Anhui-style painting in the late Ming Dynasty, Lyric Paintings （known as Shiyuhuapu in Chinese） is a rare collection for it contains lyric poems, paintings and Chinese calligraphy. Judging from the perspective of literary reception, the collection is featured with styles, sub- jects, poets and painters different from the dominant standard and aesthetics at that time. Such differences not only show the special preference of the collector, but they reflect the deep influence of local Anhui culture. As a tangible version which embodies the idea of ＂pictures as poems＂, the collection provides us with a new angle to approaeh the reception of lyrics in the Song Dynasty.
出处
《江苏海洋大学学报（人文社会科学版）》
2011年第5期49-53,共5页
Journal of Jiangsu Ocean University（Humanities & Social Sciences Edition）
基金
教育部人文社会科学研究一般项目(09YJCZH045)
上海市教委科研创新项目(11YS190)
关键词
《诗余画谱》
词意画
文学接受
Shiyuhuapu
lyric paintings
literary reception
