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吴绡(1615?—1671),字素公,又字片霞,号冰仙,长洲(今苏州)人,琴棋书画无所不能。邹流琦《吴冰仙集小引》说:“(绡)兰心蕙质,雅善书史。……于一切琴棋弦管之艺,无不精绝。书法直通钟、王,尤善画,每经点缀,灵动如生。”这类夸赞之词,并非溢美,我们从吴绡留存的大量诗作中也能窥见一斑。翻阅吴绡的《啸雪庵诗集》及《啸雪庵诗余》,多见咏“花”、叹“春”之作,细腻、柔美的闺秀风格毕露无遗,但在浓浓的闺情春思中,也有
Wu Mi (1615? -1671), the character of the public, and the word Xia, ice immortal, Cheung Chau (now Suzhou), poetry and painting omnipotent. Zou Liu Qi Wu Xiaoxian set small quotation, said: “(绡) Lan Xin Hui, Ya Shan Shu history ... ... in all the music of chord pipe, all refined. Calligraphy through the clock, the king, especially good painting, Embellishment, Smart. ”This kind of praise words, not overflowing the United States, we retain a large number of poems from Wu Mi can also see a glimpse. Read Wu Mi’s “Xiao Xue Huan poetry collection” and “Xiaoxue Um poem Yu”, more common Yong “flower ”, sigh “spring ” for the delicate, feminine style of the boudoir exposed, but in thick Boudoir in spring thinking, there are