画上题诗是中国画的独有特点,源于何时说法不一,有人认为南北朝诗人庾信的《咏画风诗》是最早的题画诗。唐代诗人李白、杜甫、王维等均有题画诗问世,但都是写在画卷之外的作品。宋元以后,随着文人画的发展,兴起了在画卷上题诗的风气,延续至今已有一千多年的历史了。 题画诗对画本身究竟起着何作用?是『画蛇添足』?还是锦上添花? 画传情,诗言志。诗画虽同出一源,但其表现形式各异。画中诗与画面物象的有机结合,克服了画面受时空限制的缺陷,不仅提高了画面的思想性,而且加强了画面艺术效果,画面意蕴大大丰富。 明代画家、诗人徐渭曾在他画的一幅『墨葡萄』上题道: 半生落魄已成翁,独立书斋啸晚风; 笔底明珠无处卖,闲抛闲掷野藤中。 Drawing on the poem is a unique feature of Chinese painting, from different time sources, some people think that Southern and Northern Dynasties poet Chi letter “Chanting Painting Poetry” is the earliest painting poetry. Tang Dynasty poets Li Bai, Du Fu, Wang Wei, etc. all have the title painting poetry, but are written in the picture outside the works. After the Song and Yuan dynasties, with the development of the literati painting, the trend of writing poem on the scroll was aroused. It has been more than a thousand years old. What is the role of the title poetry on the painting itself? Is it “superfluous”? Or is it icing on the cake? Although poetry and painting with a source, but its manifestations vary. The organic combination of the poem in the painting and the image of the painting overcomes the defect that the painting is limited by the time and space, not only improves the ideological character of the painting, but also enhances the artistic effect of the painting and enriches the meaning of the painting. Ming Dynasty painter and poet Xu Wei once painted in his “ink grapes” on the topic: half-life has become an affair, an independent book fasting breeze; pen pearl nowhere to sell, leisure throw throwing wild goat.