| Summary: | 碩士 === 國立新竹教育大學 === 語文學系碩士班 === 98 === Abstract
In Sung Dynasty, both painting and literature have reached an unprecedented state of prosperity. “Lyrics (Tzu) Inscribed on Paintings”, being a unique style of creation that closely integrates the technique of lyrics (Tzu) and paintings, has to a certain extent contributed to the development history of literature and paintings.
In terms of contemporary research in related fields, studies on “Lyrics (Tzu) Inscribed on Paintings” are far from being sufficient when compared with the studies on “Poetry Inscribed on Paintings”. Some researchers chose to incorporate the study on “Lyrics (Tzu) Inscribed on Paintings” into the study on “Lyrics Describing Objects” (Yong-Wu-Tzu), hence ignored the artistic value of such works. Throughout the vicissitudes of time, the style of Lyrics has further evolved in Sung Dynasty, serving as an instrument to deliver the grief or lamentation of the lyricists. This is particularly true with the classical lyricists, who were extraordinarily skillful in expressing their personal emotions through such lyrics. The author of this dissertation, therefore, has selected the “Lyrics (Tzu) Inscribed on Paintings in the Sung Dynasty” as the subject of her dissertation, focusing on Wu Wen-ying, Tsang-Yen and Tsou-Mi, the three classical lyricists of the time. The purpose of this paper is to explore the literary implications of these lyrics, so as to obtain an in-depth understanding on the cultural significance and aesthetic approaches of the lyrics through verses and paintings, which complements each other. It is hope that this research will supplement the less-studied phases of the “Lyrics (Tzu) Inscribed on Paintings”.
In the first chapter, the author will provide a definition on “Lyrics (Tzu) Inscribed on Paintings” and probe their origins. In the second chapter, she will further explore the historical influence of the Southern Sung Dynasty on such lyrics. By studying the life and personal connections of the three lyricists, the author will further discuss in the third chapter the background of creating such lyrics. In the fourth chapter, the author further classified the “Lyrics (Tzu) Inscribed on Paintings” into three categories: Birds and Flowers, Landscapes and Human Figures; and probed the thematic values and emotional implications of such lyrics. A further analysis will be made in the fifth chapter on the aesthetic values of the “Lyrics (Tzu) Inscribed on Paintings”, and the complementary effects between lyrics and paintings. To summarize, the “Lyrics (Tzu) Inscribed on Paintings” has, to a certain extent, contributed to the historical development of both lyrics and paintings. The rich contents and sophisticated skills demonstrated in the “Lyrics (Tzu) Inscribed on Paintings” of the Southern Sung Dynasty, as well as their aesthetic values, have all predestined the dramatic development of these lyrics in the process of their refinization. “Lyrics (Tzu) Inscribed on Paintings” has since been endowed with stronger emotional appeals, as well as the maximum potential to achieve further breakthrough from other artistic areas. Among the “Lyrics Describing Objects” (Yong-Wu-Tzu), “Lyrics (Tzu) Inscribed on Paintings” are distinguished by their unique aesthetic values, as well as their important contributions in passing on the cultural heritages in the history of “Literature Works Inscribed on Paintings”.
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