清代画论对词体观念的类比借鉴

Analogy of Painting Theory in Qing Dynasty to the Ideas of the Genre of Ci Poetry

清代画论使用类比、对照的方式,借鉴词体观念来对绘画进行理论诠释或审美批评。其中包括以词体的美学特质类比画作的风格,以词体的文体地位类比画品的雅俗,以词体的正变观类比画史的南北宗流派论,以“词为诗余”说类比书画一体同源论。搜辑和考察这种类比,可以为文学艺术互动互鉴的探究开拓视野,为词学反哺画学的情形提供印证,进而理解清人看待词体与绘画特性的视角、联结不同文艺门类的尝试,以及对于艺术创作普遍规律和理论共性的归纳总结。

Some painting theories in Qing Dynasty used analogy and comparison methods,and used the ideas of the genre of Ci poetry to make theoretical interpretation or aesthetic criticism of painting.It includes the analogy of the style of painting with the aesthetic characteristics of Ci,the analogy of the elegance and vulgarity of the painting with the stylistic status of Ci,the analogy of the“south and north sect”with the“Zheng Bian Theory”in Ci,and the analogy of the integration of calligraphy and painting with the theory of“Ci as a supplement poem”.In addition,there is a comparison between the aesthetic and artistic characteristics of Ci poetry and painting for the specific creative subject.Searching and examiningthese analogies can broaden the horizon for the exploration of the interaction and mutual learning of literature and art,and can provide evidence for the situation that Ci poetry feeds back painting,so as to further understand the perspective of Qing Dynasty on the characteristics of Ci poetry and painting,the attempt to connect different literary and artistic categories,and the summary of the general rules of artistic creation and the common characteristics of literary and artistic theories.