论布莱克诗画合体艺术及其与西方“诗如画”传统的关系

Blake's Composite Art and Its Relations to Western Tradition of “Ut Pictura Poesis”

20世纪中叶以来,威廉·布莱克的诗画合体艺术受到了诗歌评论家、艺术史家和文艺理论家的高度重视,引发了众多的研究和批评。其中一个令人瞩目的研究焦点在于这一合体艺术与西方"诗如画"传统的关系。一些学者认为,它遵从了这一传统,并推进了这一传统;另一些学者认为,布莱克的合体艺术与"诗如画"传统相背离。笔者认为,布莱克的诗画合体艺术一方面遵从了"诗如画"传统,但另一方面,布莱克合体艺术展示了更加活跃和复杂的诗画关系,呈现出诗画关系在相互统一中的差异和矛盾,最终引发了对视觉的超越而走向了由想象力主导的心灵视像。这正是布莱克艺术思想和哲学思想的集中体现。

Since the Mid-twentieth century, William Blake＇s composite art has been paid great attention to by the poetic critics, art historians and literary theorists, which arouses a lot of criticism towards it. One of the most important problems in this research lies on the relationship between Blake＇s composite art and the western tradition of ＂Ut Pictura Poesis,＂ Some critics believe that Blake＇s composite art follows this tradition while some others disagree with it by saying that it departs from, or even goes against this tradition. In the writer＇s opinion, Blake＇s composite art follows this tradition on one hand. On the other hand, this composite art shows a much more active and complicated relationship between poetry and painting, revealing the discrepancy and contradiction in the poetry-painting unity. In the essence, this composite art intends to transcend the vis- ual image and brings about the psychic vision in imagination, which is the embodiment of Blake＇s artistic ideas and philosophy.