由“学人之诗”到“画人之诗”:论陈师曾诗

近代著名画家陈师曾,又是同光体江西派著名诗人。其父陈三立是近代同光体大诗人,而师曾诗风逸于其父的西江家法之外。这是师曾在艺术家才情的激发下,自然而然地同讲求学问,视艺术为余事,重视"学人之诗"的同光体有所背离,形成陶写性灵、疏朗清新的"画人之诗"。其诗歌以赤诚淳厚的悼亡诗和讲意境、性灵的题画诗为主。其诗歌融汇众流,力求打通魏晋六朝、唐宋并驰之轨,是对近代学江西派的末流作诗晦涩喑哑如土羹尘饭的反戈一击。

On Chen Shi-zeng's Poetry:from "A Scholar's Poetry" to "A Painter's Poetry"

CHEN Shi-zeng,a modern painter,was also a well-known Tongguang-Style poet of Jiangxi School of Poetry.His father,CHEN San-li had been a great modern Tongguang-Style poet.CHEN Shi-zeng departed a bit from the Tongguang Style.The reason is that stimulated by an artist’s talent,CHEN Shi-zeng’s poetry naturally deviated from his father’s poem-composing way of Jiangxi School,which was featured by stressing "scholars’ poetry" due to their striving for scholarly attainment and seeing poetic art as something to spare so that "A painter’s poetry" formed,characteristic of natural-individuality-portraying,unbridled lucidness and refreshing newness.His poems’ major part is composed of those in memory of the deceased,embodying ardent sincerity and unsophisticated pure honesty and those dedicating to paintings being particular about artistic mood and naturalness.His poems,blending all into one and striving to get through the common norms of such dynasties as the Wei,Jin,the Six Dynasties with Nanjing as their capital city,Tang and Song,are a hard hit at the style of obscurity and cryptic-ness of the last rigid period of his own school.