摘要
正如许多论者已经指出的:中国古典美学一向强调诗与画这两种艺术形式的相互补充与融合,所谓"画难画之景,以诗凑成;吟难吟之诗,以画补足" (曹庭楝《宋百家诗存》卷十九).当然,并非任何风格的诗与画都能融合起来.唐中叶以前,文艺创作实践与理论并未显示出这种诗画融合倾向.诗画交融的特点在神韵派诗歌及文人画中体现得最为明显,而晚唐两位最重要的美学家司空图与张彦远的文艺美学思想则是诗与画交融的理论契机.司空图是神韵派诗论的建构者,他以道家美学为基础总结了唐代以及唐以前的诗歌创作。
Due to the influence of Daoism, there are a number of overlaps of Sikong Tu's
poetics and Zhang Yanyuan's theory of painting. These common characteristics are:
1. nature iv exalted by both theorists as an aesthetic ideal of artistic creation; and
2. in order to achieve this ideal, the artist is required to cultivate a highly detach-
ed personality, which enables him to reach the ideal state of creation (Yi Jing). In
describing the characteristics of this aesthetic ideal, both theorists stress the qualities
of vitality and fluidity.
出处
《北京大学学报（哲学社会科学版）》
CSSCI
北大核心
1991年第3期106-113,130,共9页
Journal of Peking University(Philosophy and Social Sciences)
