刘熙载的点染说及其文学批评

Liu Xizai’s Theory About Dianran and His Literary Criticism

刘熙载的词论美学思想将绘画领域的点染技巧和文学领域的意象创造实现了自然的融合,围绕审美意象的创造,从形式美到内容美,全面阐述了以点染艺术技法为轴心的诸多创作技巧。在"艺者道之形""诗乃天人之和"美学观的指导下,在创作技巧上提出了"起收对并重""骚人三味""以不言寄言""神光所聚,一动万随"等命题。作为过渡性的美学家,刘熙载的点染说在全面总结继承中国古典美学的同时,也为中国古典美学的现代转型打下了理论基础。

Liu Xizai’s aesthetic thought of Ci theory has achieved a natural fusion of Dianran techniques in the field of painting and the creation of imagery in the field of literature.Around the creation of aesthetic images,from the beauty of form to the beauty of content,he has fully elaborated many artistic techniques centered on the technique of Dianran.Under the guidance of the aesthetic concept of"Artist Taoism"and"Poetry is the harmony between man and nature",he puts forward opinions like"equal emphasis on both the beginning and the ending","three flavors of Sao Ren","speaking without words","The divine light gathers and moves with the proposition",etc.As a transitional aesthetician,Liu Xizai’s Dianran theory not only summarizes the inheritance of Chinese classical aesthetics,but also lays a theoretical foundation for the modern transformation of Chinese classical aesthetics.