摘要
陆机在前人探寻的基础上 ,正确总结了诗画功能性上的差异 ,将绘画抬高到与《诗经》相等同的地位 ,为古代诗画交融扫清了观念上的障碍 ;他在《文赋》中通过对“物”的作用的肯定与推崇 ,确立了它在诗歌创作中不可或缺的地位 ,实际上架通了后世诗画交融的桥梁 ;对写景要达到“穷形尽相”境界的提出 ,并用“绮靡”的语言来佐助这种目的的实现 ,缩小了文学尤其是诗画在功能性上的差异 ,为“诗中有画”传统的形成 ,首次在理论上铺平了道路 ;
On the basis of the pioneers LU Ji summarized the difference of functions between painting and poetry,and lifted the position of painting to the level of The Book of Songs so as to clear the way for the idea of blending of pictures and poems.His made sure the role of'things'in his uenfuand established the necessary position of'things'in the writing of poems to actually build abridge for the mingling of pictwre and poem.His idea of'true to life description'in scenery depicturing and his use of enphuist language in practice minimize the functional difference between painting and poetry,which paved the way for the forming of'picture in poetry'tradition.His idea have had great infuence on the poets afterwards.
出处
《信阳师范学院学报(哲学社会科学版)》
2002年第5期84-89,共6页
Journal of Xinyang Normal University(Philosophy and Social Sciences Edition)
关键词
陆机
文献
诗中有画
传统
奠基
LU Ji
wenfu
picture in poetry
tradition
base