诗与画的分离——从王维的“诗中有画”说起

发布时间：2017-12-26 21:30

本文关键词：诗与画的分离——从王维的“诗中有画”说起　出处：《苏州大学学报(哲学社会科学版)》2017年04期 　论文类型：期刊论文

【摘要】：王维诗素以"诗中有画"著称,但绘画性乃诗歌古已有之的特征,将其作为王维诗歌最具代表性的特质,似乎不太合理。事实上,不论是"诗中有画"还是"画中有诗",其论述的出发点、着重点都在于王维的画,而不在于王维的诗本身。在文人画兴起的宋代,王维的诗歌并不太受重视,绘画却堪称第一,且被尊为文人画鼻祖。这既与其诗人身份密切相关,更有其深层原因。绘画的审美性是随着文人画的兴起而受到重视的,并且与文人画家的业余性密不可分;而诗歌从一开始就与教化紧密结合,儒家的教化观始终影响着诗歌的创作与审美,并占据着主流地位。正是诗与画定位的不同,造成了两者评价标准上的差异。
[Abstract]:Wang Weishi was famous for his "Painting-in-poetry", but the painting is a characteristic of ancient poetry, the poetry of Wang Wei as the most representative character, does not seem reasonable. In fact, whether it is "Painting-in-poetry" or ", discusses the There is poetry in a painting." starting point, the key lies in Wang Wei's paintings, but not in Wang Wei's poetry. In the Song Dynasty, which was the rise of literati painting, Wang Wei's poetry was not much paid attention to. Painting was the first, and was respected as the ancestor of literati painting. This is not only closely related to the identity of the poet, but also its deep reason. The aesthetic nature of painting is valued with the rise of literati paintings, and is closely related to the amateur nature of literati and painters. Poetry is closely integrated with education from the beginning, and the Confucian concept of enlightenment always affects the creation and aesthetics of poetry, and occupies the mainstream position. It is the difference between the position of poetry and painting, which causes the differences in the evaluation criteria.
【作者单位】：清华大学人文学院;
【分类号】：I207.22
【正文快照】： “诗中有画”“画中有诗”语本苏轼《书摩诘〈蓝田烟雨图〉》,原文如下: 味摩诘之诗,诗中有画。观摩诘之画,画中有诗。诗曰:“蓝溪白石出,玉川红叶稀。山路元无雨,空翠湿人衣。”此摩诘之诗。或曰非也,好事者以补摩诘之遗。[1]2209 苏轼此论颇为后人认同,“诗中有画”由此成

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