宋代画意论

Artistic Mood of Song Dynasty

宋代是中国诗歌与绘画艺术高度繁盛并交融的时代,"尚意"的美学思潮决定了"意"被奉为诗歌与绘画创作的规范。通过宋代画论中的"画意与画形"、"诗画一律"等重要理论的考察,以期对宋代诗画理论的特点及其美学影响进行深入认识。宋代诗话多处提到"画意不画形",欧阳修、苏轼是其中的典型代表,同时,以诗句入画也为宋代文人画家所重视,"诗中有画,画中有诗"成为当时诗画艺术的一种创作追求和审美理想。宋代诗话中揭示出的诗学观念深刻影响和渗透到了绘画当中,从而提升了宋代绘画的价值和意义。

Chinese poetry and painting art are highly prosperous and mingled in song ndynasty where the aesthetic theory “the pursuit of artistic mood determines artistic mood” being regarded as the prin- ciple of poetry and painting. This paper attempt.s to investigate stone important theories such as “painting artistic mood and painting form”, “Poem consistent with Painting” in poem and painting theories of song dynasty in order to further understanding characteristic and aesthetic effect of poem and painting theories of song dynasty. Poetry talks of song dynasty have many references to “ prefer painting artistic mood to shape” which Ouyang Xiu, Su Shi typically advocates. At the same time, the song dynasty literati painters also pay more attention to the guideline of “picturesque with poem”. “Having painting in his poetry and poetry in his painting” was becoming a kind of creation pursuit and aesthetic idea. The poetics concept revealed in poetry talks of song dynasty deeply affects and penetrates painting to enhance the value and significance of paintings of song dynasty.