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自高麗時期起, 中國書畫典故多見於漢詩, 而漢詩中書畫典故的濫觴與崇尚蘇軾詩文的‘崇蘇熱’有著緊密的聯繫。特別值得關注的是, 高麗時期對蘇軾詩文中書畫典故的受容, 以林椿最具代表性的事實。 漢詩中出現的書畫語典, 根據內容可以分為兩類。第一類是對書畫的筆法、神韻、風格的具象描繪。其中飄風驟雨、落花飛雪、鸞翔鳳翥、驚鸞回鳳、虎臥龍跳、鐵畫銀鉤、珊瑚碧樹、雲煙落紙、春蚓秋蛇、家雞野鶩、驚蛇飛鳥等詩語作為海東漢詩中常見的書畫語典, 形象生動地描繪了書畫的神韻風格。通過分析研究發現此類語典存在較為固定的出處, 並且其出處可以概括為‘李杜韓蘇’。李白的「草書歌行」對海東詩壇影響深遠。杜甫留下的書畫詩數量較多, 但對海東漢詩產生深遠影響的是「李潮八分小篆歌」和「丹靑引贈曹將軍霸」。源自「李潮八分小篆歌」的‘書貴瘦硬’的觀點和貫穿於「丹靑引贈曹將軍霸」的‘畫骨畫肉’之爭, 這種書畫批評明確表達了杜甫本人態度與觀點, 更加受到海東文人的青睞。 韓愈的「石鼓歌」對後世的石鼓詩產生了重要影響。海東關於石鼓、禹碑、籀文、古文等漢詩的結構和內容也大都源於韓愈的「石鼓歌」。源於其中的‘鸞翔鳳翥’、‘珊瑚碧樹’、‘金繩鐵索’得到了海東文人的喜愛, 但對於出自其中‘羲之俗書趁姿媚’的論斷, 海東文人表現出了懷疑或否定的態度, 反其意而用之。
It is speculated that the history of using Chinese calligraphy and painting allusions in Haedong Han poetry began in the Goryeo Dynasty. The origin of allusions to calligraphy and painting in Han poetry is closely related to the admiration of Su Shi's poetry and prose. What is particularly noteworthy is the use of allusions to Su Shi in the Goryeo Dynasty. Regarding the acceptance of allusions to calligraphy and painting in poetry, Lin Chun is the most representative fact. The dictionaries of calligraphy and painting that appear in Chinese poetry can be divided into two categories according to their content. The first category is a concrete description of the brushwork, charm, and style of calligraphy and painting. Among them, the wind and rain, the falling flowers and the snow, the flying phoenix and the fengzhu, and the Jingluan Poems such as returning phoenix, tiger crouching and leaping dragon, iron painted silver hook, coral green tree, cloud smoke falling on paper, spring earthworms and autumn snakes, domestic chickens and wild ducks, frightened snakes and flying birds are common calligraphy and painting dictionaries in Haidong Han poetry, and are vividly depicted Through analysis and research, it was found that this type of dictionary has a relatively fixed source, and its source can be summarized as "Li Du Hansu". Li Bai's "Cursive Script Song" had a profound impact on Haidong poetry。Du Fu left behind There are a large number of calligraphy, painting and poems, but the ones that have a profound impact on Haidong Han poetry are "Li Chao's Eight-point Small Seal Song" and "Dan Qing Yin Presented to General Cao Ba". "Shu Gui" originated from "Li Chao's Eight-point Small Seal Song" The viewpoint of "thin and hard" and the controversy of "painting bones and painting flesh" that run through "Dan Qing is presented to General Cao". This kind of criticism of calligraphy and painting that clearly expresses Du Fu's own attitude and views is even more favored by Haidong literati. Han Yu's "Stone Drum Song" had an important influence on the stone drum poetry of later generations. The structure and content of Haidong's Chinese poems on Shigu, Yu Stele, Zhouwen, and ancient prose were also mostly derived from Han Yu's "Stone Drum Song". The "Luan Xiang Feng Zhu", "Coral Green Tree", and "Golden Rope Iron Rope" derived from it were loved by Haidong literati. However, Haidong literati showed their dissatisfaction with the conclusion derived from "Xizhi Sushu Chengzimei". To express doubt or denial, use it in the opposite direction.
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calligraphy, allusions, Haedong, Han poetry, Dufu
