宗白华诗画关系理论探析

On Zong Baihua’s Theory of the Relationship between Poetry and Painting

以孔子为代表的儒家文化、老子为代表的道家思想和以《周易》为代表的中国传统文化内核对宗白华的思想影响深远。斯宾格勒的《西方的没落》更是打开了他跨文化研究意识的大门,他将叔本华和老子、康德与《易经》做比较,逐步深入中西文化的研究。对于诗画关系,宗白华认为它们之间既有共同的部分,又是相互独立的两个领域,在某种条件下,二者可以相互融合,达到“诗中有画,画中有诗”的境界。这种诗画关系理论一直贯穿他的多部美学著作和生命历程当中,他的诗画关系理论不是那种政治性、功利性与图解性的理论堆砌,而是始终以中国本土文化为本位,在其中执着于对人生、自然的追求,并将人格涵养与艺术学识联系起来,将这种思想始终贯穿于诗画美学实践的探索研究当中。

The Confucian culture represented by Confucius,Taoism represented by Laozi and the core of Chinese traditional culture represented by The Book of Changes have a profound influence on Zong Baihua’s thought.Bingler’s The Decline of the West opened the door of his cross-cultural research consciousness.He compared Schopenhauer and Laozi,Kant and The Book of Changes,and gradually went deep into the study of Chinese and Western cultures.As for the relationship between poetry and painting,Zong Baihua thinks that there are both common parts and independent fields between them.Under certain conditions,they can be integrated with each other to achieve the realm of painting in poetry and poetry in painting.This theory of the relationship between poetry and painting has been running through many of his aesthetic works and life course.His theory of the relationship between poetry and painting is not a political,utilitarian and graphic theoretical pile,but always based on Chinese native culture,in which he is obsessed with the pursuit of life and nature,and links personality cultivation with artistic knowledge,and this idea has always run through the exploration and research of aesthetic practice of poetry and painting.