词论与画论--援画论词在词学批评中的作用和意义

Theory of Poetry and Theory of Painting:the Role and Significance for Poetic Criticism of Commenting on Ci in Terms of Painting

画论范畴在词学批评理论中具有特殊的作用和意义。各种文艺门类相互借鉴、相互发明构成了中国古代文艺史上的奇妙景观。古代的文艺批评家经常援引此类理论品评彼类作品。词论家从绘画理论中汲取了不少营养,借鉴了许多画学范畴以论词,如神品、南北宗、钩勒、设色等,借鉴画论移作词论,将词学中的一些难以解说的东西,借助于画学加以引申和发挥,获得入微通幽、生动传神的阐释效果。援画论词是古代词学批评理论的精妙所在,深化了词学的内涵,对词学理论的建构起到了重要作用。

Concepts or categories used in discussing painting had a special role and significance in critiques of the ci verse form.The history of ancient Chinese art and literature presents a wonderful spectacle of mutual borrowing and discovery between different branches of art and literature.In ancient times it was common for critics to talk about works of one kind of art in terms of the theory of another kind.Critical theorists discussing the ci verse form,for example,borrowed much from the theory of painting,including categories such as shen pin(masterpiece),nan bei zong(the northern and southern schools),gou le(outlining),she se(coloring),etc They drew on these to convey in a subtle and graphic manner what would otherwise have been hard to put into words.Such reference to painting in ci criticism is a fascinating part of critical theory in ancient China;it deepened the content of poetics with regard to the ci and played an important role in its theoretical development.