诗与画,古人很少分家。苏轼曾评王维“诗中有画”、“画中有诗”,宋代的郭思、张贯休也都认为“诗是无形画,画是有形诗”。事实本也如此。然而,乐跟诗画,一般却不与相论。其实,乐中不可无诗,也不可无画。所谓有“诗”有“画”,讲的是有诗情画意,所谓“诗情画意”,指的就是意境,这种“意境”,正是以作者情意作为作品灵魂的艺术境界。听过交响组曲《长江画页》后,定会对此有所感受。例如该曲的第一乐章《峨嵋山》,为了准确传达意中的峨嵋山,作者首先在形式上作了周密安排:一阵阵细碎的弦音柔柔而出,进而插入筛锣、铜鼓、竖琴、弱音小号等乐器的断续声响……从内容方面来听,作者没有局限于一草一木的雕琢,而是鸟瞰总体,抓住雄秀、高峻、瑰奇、佛寺聚集等特征,对峨嵋山进行了精心 Poetry and painting, the ancients are rarely separated from home. Su Shi once commented on Wang Wei’s “painting in the poem” and “poetry in the painting”. In the Song Dynasty, Guo Si and Zhang Guanghuai also considered that “poetry is an invisible painting and painting is a visible poem.” The same is true. However, music and poetry and painting generally do not talk with them. In fact, music can not be no poem, nor can not no painting. The so-called “poem” has “painting”, about poetic and sentimental meaning. The so-called “poetic and pictorial meaning” refers to artistic conception. This kind of artistic conception is the artistic realm of the soul of the work with the author’s sentiment. After listening to the Symphonic Suite “The Yangtze River Painting Page”, I will feel something about it. For example, the first movement of the song “Emei Mountain”, in order to accurately convey the intended Emei Shan, the author first made a careful arrangement in the form: a burst of broken strings softly out, and then insert the sieve gongs, drums, harp, Mute trumpet and other musical instruments intermittent sound ... ... From the content to listen to, the author is not limited to the grass and wood carving, but the overall bird’s eye view, to seize the glory, tall, Guiqi Buddhist temple gathered features such as Emei Mountain Well done