南宋诗学与书画艺术的融合研究

发布时间：2018-05-05 15:06

本文选题：南宋诗学 + 书画艺术　；参考：《南开大学》2013年博士论文

【摘要】：南宋诗学与书画艺术的综合研究,包括彼此的影响和在审美上的交融互补,表现为诗书画在审美观念和审美思维上的融合,呈现出复雅、崇格和尚意的总体趋势。本文试图以南宋诗歌思想的发展为线索,参照书论与画论,结合南宋士人心态和文艺创作,阐述这一时期诗学与书画艺术的交融互补的历程。全文分为四章。第一章,论述南宋初期的诗学转向对书画复古思潮的影响。诗歌创作方面,陈与义、吕本中、徐俯、韩驹、曾几等人的诗学思想,除了表现为融合苏、黄诗风并提倡“活法”理论和“悟入”思想外,还追求回归唐音的清新自然的诗歌风格。绘画方面,以米友仁和江参为代表的文人画赓续北宋文人画的传统,而以李唐为代表的画院画家群则继承了北宋宣和画院的绘画传统,以复古为创新,开创了南宋山水画的新格局。书法方面,宋高宗以帝王身份提倡和实践复古的书法,他学习魏晋名家和唐宋大家的书法,形成“二王”体系下的个人化,影响很大。崇尚古雅与清新,成为南宋初期文艺领域的核心审美理念,也是诗、书、画融合的思想基础。第二章,分析南宋中叶诗学与书画艺术的崇格追求。中兴四大诗人的诗学思想与书法都表现出了“崇格”的倾向,陆游主张工夫在诗外,作诗以气格为尚；范成大的诗歌与书法讲究气韵高格；杨万里的“诗味”说也讲究高雅格调,尤袤的诗书也重在表现意趣品格。张孝祥的诗词风格近于苏轼的清旷和杜甫的沉郁悲壮,颇多感怀时事之作,追求悲壮的气格和坚贞的人格相统一。刘松年的绘画风格多样,笔精墨妙,清丽严谨,兼众画之长而臻其妙,追求绘画的艺术品格,代表了南宋中叶画坛崇格的思想倾向。多才多艺的姜夔,虽然是个终身未仕的落魄文人,但却引领了文艺领域自然高妙的境界追求。第三章,阐述南宋后期的宗唐诗风与尚意书画的关系。首先是江湖诗人群体的学唐风气和尚意诗情,这个诗人群体以“永嘉四灵”为先锋,以戴复古和刘克庄为主力,学习晚唐诗歌,形成苦吟之风,尚意之风盛行。书法方面,张即之师法唐宋名家,兼收并蓄而自成一家,形成了严谨小巧的尚意书法。绘画方面,以马远和夏圭为代表的画院画家,分别以水墨苍劲和雄奇简练的画笔追求绘画的雅趣,代表了南宋后期画院的尚意之风。第四章,关于南宋季世的遗民诗情与书画逸格。南宋末年国破家亡,爱国诗思和遗民情怀成为此期诗人主要表达的内容,书画艺术的悲风遗韵在亡国前后也悄然奏响。南宋遗民诗人群体的诗歌主要表达了遗民情怀和故宋之思,如汪元量亲历去国之悲,诗情悲凉,表现了他的亡国之痛和逸格崇尚。白玉蟾的题画诗和书画创作以及赵孟坚的诗画书学,具有崇尚逸格的思想倾向,代表了南宋季世书画创作的最高水平。
[Abstract]:The comprehensive study of poetics and calligraphy and painting art in Southern Song Dynasty, including the influence of each other and the blending and complementation of aesthetics, is manifested by the fusion of aesthetic concepts and aesthetic thinking of poetry, calligraphy and painting, showing the general trend of complex elegance and worship of Buddhism. Based on the development of poetry in the Southern Song Dynasty, this paper attempts to expound the course of the blending and complementation of poetics and calligraphy and painting art in this period by referring to the book theory and painting theory, combining the mentality of the scholars in the Southern Song Dynasty and literary and artistic creation. The full text is divided into four chapters. The first chapter discusses the influence of the poetics turn on the retro trend of calligraphy and painting in the early Southern Song Dynasty. In the field of poetry creation, Chen Yanyi, Lu Benzhong, Xu Ch'u, Han Ju, Zeng Ji and others expressed their poetic thoughts in addition to integrating Su and Huang Shifeng and advocating the theory of "living method" and "enlightenment". It also seeks to return to Tang Yin's fresh and natural poetic style. In painting, the literati paintings represented by Miyou Ren and Jiang Shen continued the tradition of literati painting in the Northern Song Dynasty, while the painters of the painting Academy, represented by Li Tang Dynasty, inherited the painting tradition of the Xuan he painting Institute of the Northern Song Dynasty, and took the restoration of the ancient times as the innovation. Created a new pattern of landscape painting in the Southern Song Dynasty. In the aspect of calligraphy, Song Gaozong advocated and practiced the retro calligraphy as a monarch. He studied the calligraphy of famous scholars in Wei, Jin and Tang and Song dynasties, and formed the individualization under the system of "two kings", which had a great influence. Advocating elegance and freshness has become the core aesthetic concept in the field of literature and art in the early Southern Song Dynasty, and it is also the ideological basis for the integration of poetry, books and paintings. The second chapter analyzes the pursuit of poetry and painting art in the mid-Southern Song Dynasty. The poetic thought and calligraphy of the four poets of ZTE show the tendency of "worshipping character". Lu you advocates that in addition to poetry, the poetry of Fan Chengda should be characterized by style, while Fan Chengda's poetry and calligraphy pay attention to the style of charm. Yang Wanli's "poetic taste" also stresses elegance and style, and his vast poetic books also focus on expressing character of interest. Zhang Xiaoxiang's poetry style is close to Su Shi's Qing Kuang and du Fu's melancholy and solemn, and quite a lot of current affairs works, pursuing the unity of solemn spirit and firm personality. Liu Songnian's painting style is diverse, fine ink, fine, elegant and rigorous, and the long and wonderful paintings, the pursuit of painting art style, represents the Southern Song Dynasty painting circle of thought tendency. The versatile Jiang Kui, although a life-long lost literati, but led the field of literature and art natural high-level pursuit. The third chapter expounds the relationship between Zong Tang Poetry style and Shang Yi calligraphy and painting in the late Southern Song Dynasty. First of all, the poetry of Tang style and meaning is studied by the group of river and lake poets. The poet group takes "Yongjia Siling" as the vanguard and takes Dai Fugu and Liu Kezhuang as the main force to study the poetry of the late Tang Dynasty and form the wind of bitter singing and the wind of still meaning prevailing. In calligraphy, Zhang namely the masters of Tang and Song dynasties, eclectic and formed a rigorous and small meaning of calligraphy. In painting, the painters represented by Ma Yuan and Xia Gui pursue the elegant interest of painting with their brushes, which represent the style of the painting academy in the late Southern Song Dynasty. The fourth chapter, about the Southern Song Dynasty, the poetic feelings of the people and calligraphy and painting style. At the end of the Southern Song Dynasty, the national family broke down, the patriotic poetry thought and the feelings of the people became the main expression of the poet in this period, and the sad rhyme of calligraphy and painting art played quietly before and after the national subjugation. The poetry of the poet group of the Southern Song Dynasty mainly expresses the feelings of the bereaved people and the thought of the late Song Dynasty, such as Wang Yuanliang's personal experience of the grief of going to the country, the melancholy of the poetic feelings, and the expression of his pain of subjugation and his advocating of ease. Bai Yuxun's painting poems and paintings and Zhao Mengjian's calligraphy and painting studies have the tendency of advocating the style of painting, which represents the highest level of calligraphy and painting creation in the Southern Song Dynasty.
【学位授予单位】：南开大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I207.2;J292.1

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