唐代诗歌中的飞禽走兽壁画风貌

唐代的飞禽走兽壁画尽管因岁月的破坏无一幸存,且历代画史对此亦少有记录,但从唐诗留存的少量相关咏画诗作中,仍可窥见其大体艺术风貌:其一是唐诗所咏的飞禽走兽壁画均各自单独成图,其画地可考者涉及山东金乡、河南洛阳、河南方城、四川通泉、四川成都诸地,这说明了唐代的飞禽走兽画已成独立画科,且以鸟兽为题材的壁画流布广泛;其二是现存唐诗所咏的飞禽壁画主要有白鹤、苍鹰和猎鹘等,走兽壁画主要有骏马和雄狮等,且画面简洁,罕见花草林木衬托,这既反映了唐代画家崇尚阳刚之美的审美追求和祈求吉祥如意的人生愿望,也透露了鸟兽画初创阶段述志重于观赏的真实情况;其三是唐诗所咏的飞禽走兽壁画,无论是出自名家或无名画师之手,无不形象逼真、栩栩如生,由此可知写实性绘画系唐代画家们普遍追求的艺术准则。

The Artistic Style of Frescoes on Birds and Beasts Portrayed in Tang Poems

Frescoes on birds and beasts handed down from Tang Dynasty had been devastated throughout history,and had not been recorded in painting history.However,we may have a glimpse of the general artistic styles of these frescoes from some Tang poems.Firstly,frescoes on birds and beasts portrayed in Tang poems were processed as a single painting.Some frescoes were distributed in Jinxiang(Shandong),Luoyang(Henan),Fangcheng(Henan),Tongquan(Sichuan),Chengdu(Sichuan),and etc.,which implied that frescoes on birds and beasts became an independent branch and pervaded widely.Secondly,birds portrayed in Tang poems included cranes,eagles and swans,while beasts were mainly horses and lions.These frescoes were simply painted with rare cases of exploiting flowers or grasses as backgrounds,which implied that artists in Tang Dynasty focused on the pursuit of masculine beauty and prayed for the smoothness of life,and also revealed the truth that,in the initiative period,frescoes on birds and beasts prefered expressing ambitions to simple appreciation.Thirdly,frescoes on birds and beasts portrayed in Tang poems,whether painted by celebrities or unknown artists,were vivid and lifelike,from which we came to know that representational style was the basic principle pursued by artists in Tang Dynasty.