以白居易长篇叙事诗《琵琶行》为题材创作诗意画,一千多年来备受众多文人画家的青睐。在近现代画家中,尤以方人定于1948-1956年中以此题材创作的组画最引人注目。本文试图从画家本人对传统题材的回归,组画画体,《琵》诗题材及审美视觉的突破等方面对此组画进行解读,从客观的角度重现时代环境,创作接受样式对画家的影响,更好的理解画家创作中“诗眼”的选择及其在诗与画的结合中所融入的新的元素。 With Bai Juyi’s long narrative poet “Pipa” as the subject to create poetic painting, it has been favored by many literary painters for more than a thousand years. Among the modern painters, the group paintings especially made by this party during the period 1948-1956 are most notable. This paper attempts to interpret the group paintings from the artist’s return to the traditional themes, the group painting body, the theme of “Pi” and the breakthrough of the aesthetic visualization, and then reproduces the contemporary environment from the objective point of view, To better understand the artist’s choice of “poetic eye” and its new element integrated into the combination of poem and painting.