魏晋南北朝山水诗画关系研究

发布时间：2018-06-23 06:54

本文选题：山水诗 + 山水画　；参考：《南京大学》2013年硕士论文

【摘要】：魏晋南北朝是我国文学史和艺术史上一个重要的变革时期。文学和艺术逐渐与政治和学术脱离,确立了自己独立的价值和地位。诗歌和绘画不仅在各自的领域出现了题材的扩展和创作方法的创新,二者之间也开始相互影响、相互融通。“山水的发现”和“诗画一律”的萌芽,可谓这一时期诗画发展中最重要的两个现象。研究山水进入诗歌和绘画的过程以及它所带来的诗画关系的变革,能将看似分散的山水诗画主题、技巧和理论统一于一个共同的话语框架之下,从而为研究早期山水诗画提供了一个新角度,也为厘清中国诗歌绘画变迁的线索提供了一个新思路。本论文研究的核心问题是诗歌、绘画、山水三者的关系,回答魏晋南北朝时期山水出现对“诗画一律”观念的影响。本文认为魏晋南北朝山水的发现打破了诗歌与绘画和创作主题的精神之间直接单一的反应模式,注重形象的观看模式随之产生。而诗与画在力图把握形象的过程中也超出各自体裁的限制。诗歌、绘画、山水的关系实际上是物质形象、精神形象、语言形象三者的相似、转化和渗透。论文首先简单梳理此时期山水诗歌和绘画各自的发展情况和两者初步的融通情况,关注两个现象：第一,诗人和画家合流为同一个群体,文人兼善书画成为典型现象；第二,创作上,诗歌和绘画出现了题材和技法上的借鉴；题画诗、画赞等文学形式开始出现；根据诗歌创作的绘画也始见于记载。其次,论文从山水诗画诞生的文化背景出发略论山水进入文学和艺术的原因。由新的时空观念,文人产生了对“质有”的重视以及对“形”的关注；山水作为观看的对象,首先作为“目人”的一种模式出现于人物品藻中,进而成为审美对象,进入文人的创作视野和日常生活。再次,论文说明当时的文人如何观看山水。文人观看山水的视觉模式经历了两个阶段。第一阶段,文人从远观山水,抒发情志到将山水作为媒介,以画家的眼光深入到山水细节,近距离观察的物之形容；第二阶段,文人超越形象,开始追求形象之外的境界,在高度真实地把握物象的同时,将象和意结合起来,使语言的多义性在诗歌中再一次得到确立。言象意相结合的视觉模式建立起来。最后,论文进一步结合魏晋南北朝的山水物色观探讨魏晋南北朝“诗画一律”的萌芽和主要模式。诗画一律的前提和起源是赋之兴盛所引起的语言图写能力的开发；以“形似”为核心的创作理论使“诗中有画”出现了两个模式,其一是诗歌将山水看做有花纹的装饰性图案加以描写；其二是诗人以一个绘画框架的概念观看山水,在诗歌中表现“江山如画”,真正把山水作为绘画加以书写。论文进而以绘画出发点,论述“画中有诗”。绘画作为媒介,通过“神思”这一想象过程,将山水的物质形象转化为精神形象,在绘画中建构起“文学性的逻辑空间” 与以往的研究相比,本文的研究在一个全新的思路下进行。第一,研究内容上,本文讨论山水、诗歌和绘画三者之间的关系,而以往的研究大多只涉及其中的二者。同时,本文并没有将重点放在山水出现在诗歌和绘画中的原因上,而是着重解释山水出现后观看自然的方式、形象的观念、以及诗与画的关系产生了何种变化。第二,研究方法上,本文没有按照过去研究的框架,从创作主体、内容、理论等方面比较诗歌与绘画的异同,也没有以单个作家为个案展开研究,而是从整体上探索山水与诗画一律的相关问题,以“形象”为核心构建起新的理论框架。第三,研究理论上,本文借鉴了西方的图像学理论,如语言形象、精神形象和物质形象的划分,以此为基准重新审视传统文论中言—象—意三者之间的关系；同时论文也参考了西方关于诗画关系的讨论和二十世纪语言哲学的理论,从新的角度思考语言和图像的关联性。第四,研究结论上,本文提出了一些新的观点。如对山水的关注与重形和观形的倾向有关；山水诗显示出从“游目”到“即目”的视觉转换；早期的“诗中有画”的两个模式；绘画通过“神思”(想象)的作用构建起“文学性的逻辑空间”等。本文认为山水诗画的诞生和早期诗画一律观的萌芽密切相关,二者互为表里,并最终促使了中国诗歌和绘画思维特性、审美标准的成熟和确立。
[Abstract]:In the Wei and Jin Dynasties , the Southern and Northern Dynasties are an important period of change in Chinese literary history and art history . Literature and art are gradually separated from politics and academic and established their own value and status .

The core issue of this thesis is the relationship between poetry , painting and landscape , and answers the influence of landscape water on the concept of poetry and painting in the period of Wei , Jin , Southern and Northern Dynasties . This paper concludes that the discovery of Wei , Jin and Southern and Northern Dynasties broke the direct and single reaction mode between poetry and painting and the theme of creation . The relation between poetry and painting was beyond the limits of the individual genres . The relation between poetry , painting and landscape is actually the similarity , transformation and infiltration of material image , spiritual image and language image .

First , poets and painters merged into the same group , and the scholar ' s painting and painting became typical phenomenon .
Second , the creation , poetry and painting have appeared the reference of theme and technique ;
The forms of literature such as poem and painting begin to appear ;
Painting according to the poetry creation also begins in the record .

Secondly , from the cultural background of the birth of landscape poetry , the paper discusses the reasons for the entry of mountains and water into literature and art .
As an object of view , landscape water first appears in the human species algae as a pattern of " eyes " , thus becoming an aesthetic object , and entering the literary field of creation and daily life .

At the same time , the author describes how the author views the mountain water at the time . The author has experienced two stages in view of the visual mode of the mountain water . During the first stage , the author expresses his emotions from the distant view of the mountains and waters as the medium , and takes the painter ' s eyes deep into the details of the mountain water and the description of the near - close observation ;
In the second stage , the author goes beyond the image , begins to pursue the realm outside the image , grasp the image in a high degree , and combine the image with the meaning , make the ambiguity of the language in the poem once again to be established .

In the end , the paper further discusses the sprout and the main pattern of the " uniform " in the Wei - Jin and Southern - North Dynasties . The premise and origin of the poem - painting are the development of the writing ability of the language map caused by the prosperity of Fu .
The creation theory , which is based on the form of " shape " , has brought two modes to " the painting of the poem " , one of which is the description of the decorative pattern of the poem which can be seen as a pattern ;
The second is that the poet takes the concept of a painting framework to view the mountains and water , and in the poems , expresses the " rivers and mountains as a painting " , and truly writes the mountain water as a painting . In turn , the paper points out that the painting is a medium , and through the imagination process of " God " , the material image of the mountains and water is converted into a spiritual image , and the " literary logic space " is constructed in the painting .

Compared with previous studies , the research of this paper is carried out under a brand - new idea .

First , on the content of research , this paper discusses the relationship between mountains , water , poetry and painting . Most of the past researches only involve both of them . At the same time , this paper does not focus on the reason why the landscape appeared in poetry and painting , but also on the way of watching nature , the concept of image , and the change of the relationship between poetry and painting .

Second , on the research method , this paper does not study the similarities and differences between poetry and painting from the aspects of creation subject , content , theory and so on , but also does not study on the individual writer as a case , but also explores the related problems of landscape and poetry from the whole , and constructs a new theoretical framework with " image " as the core .

Thirdly , on the theory of study , this paper draws on the image theory of the West , such as the linguistic image , the spirit image and the material image , thus reexamining the relationship between the traditional literary theory and the image - meaning .
At the same time , the paper also makes reference to the discussion of the relationship between poetry and painting and the theory of the 20th century language philosophy , and considers the relevance of language and image from the new angle .

Fourthly , on the conclusion of the study , some new viewpoints are put forward .
Landscape poetry shows the visual conversion from " tour destination " to " destination " ;
In the early period , two modes of " painting and painting " ;
In this paper , it is believed that the birth of the landscape poetry is closely related to the emergence of the concept of the early poetry , which are mutually explanatory and eventually lead to the maturity and the establishment of Chinese poetry and painting thinking characteristics and aesthetic standards .
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I207.22;J209.2

【参考文献】