诗法与书法
发布时间：2019-06-25 19:49
【摘要】：苏轼、黄庭坚、米芾、蔡襄并称为宋代“书法四大家”，四人之诗歌创作又都卓有成绩，他们的诗学思想与书法理论有着紧密的联系：诗歌以语言为工具创造意境，书法则用线条为手段营造笔墨意趣，二者虽是不同文艺部类，却存在着深刻的内在统一性，所谓“异质同构”，都是同一创作主体精神的外在展示。本文对四家诗学思想和书法理论的一致性与矛盾性作以论述，以求得对他们整体文艺思想的把握。 苏轼提出“尚意”的书法审美观，并将之应用于诗歌、书法创作中，这是对唐诗、唐书的反叛与创新，为宋代诗歌与书法开辟了新路。东坡注重创作过程中心灵的感悟，追求文艺创作的“自然”表现，使线条与语言具有了流动性，形成内外合一的创作情态；同时注重继承与创新的关系，还强调“天工”，在其文艺思想中充满辨证思维；《黄州寒食诗》帖是东坡书法艺术的最高代表，是其诗歌观与书法艺术观的集中体现。其有关书法的诗歌亦具有很高的艺术性和理论性。 黄庭坚注重诗学思想与书法理论的精神互通，“免俗”是其文学、艺术观中一贯主张和核心思想，并以重“韵”作为品评文艺作品的标准，在形式上则求“拙”；其诗论同书论中有通过诗、书外在现象来达到本质的观念，通过字句推敲、点画模拟来实现精神上的相似，“自成一家”是其一生中对诗、书的不倦追求：山谷晚年的诗、书创作形成了互补，成为其情感表达的双重载体。 彰显“自我”是米芾主导的书学思想，并表现在诗歌创作中。他在诗、书创作方面都注意学习古人：诗学唐，追求平淡自然的诗风；书宗晋，在注重基础点画同时力求表达真实性情。 继承与复古是蔡襄在诗歌与书法方面的主导理论，为北宋新诗风与书风的确立做出了重要贡献。他强调文学、艺术创作内在精神的重要性，推崇晋唐古意，博采众家之长，注重书法与诗歌的基本功，强调基础，表现出非常严谨的书风与诗风。 四家在诗学思想与书学理论中互相既有借鉴，又有创新，形成了中国文化史上一道独特而亮丽的风景线。通过对他们文艺思想的比较研究，可以更深入地探究创作主体的个人气质与时代文艺特色，给文学史研究带来新的面貌，以求在学科的交叉点上，取得突破性的进展。
[Abstract]:Su Shi, Huang Tingjian, Mi Fu and Cai Xiang are also known as the "four great calligraphy families" in Song Dynasty. Their poetic thoughts are closely related to calligraphy theory: poetry uses language as a tool to create artistic conception, calligraphy uses lines as a means to create pen and ink interest, although they are different literary and art departments, but there is a profound internal unity, the so-called "heterogeneous isomorphism". Are the external display of the spirit of the same creative subject. This paper discusses the consistency and contradiction between the four poetic thoughts and calligraphy theories in order to grasp their overall literary and artistic thoughts. Su Shi put forward the aesthetic view of "Shangyi" calligraphy, and applied it to poetry and calligraphy creation. This is a rebellion and innovation against Tang poetry and Tang books, which opened up a new way for poetry and calligraphy in Song Dynasty. Dongpo pays attention to the spiritual perception in the process of creation, pursues the "natural" expression of literary and artistic creation, makes the line and language have mobility and forms the creative modality of internal and external unity; at the same time, pays attention to the relationship between inheritance and innovation, and also emphasizes "heavenly work", which is full of dialectical thinking in its literary and artistic thought. Huangzhou Cold Food Poems is the highest representative of Dongpo's calligraphy art and the concentrated embodiment of his view of poetry and calligraphy art. His poems about calligraphy are also highly artistic and theoretical. Huang Tingjian pays attention to the spiritual exchange between poetics thought and calligraphy theory. "exemption from vulgarity" is his literature, which has always been advocated and core thought in his artistic view, and takes "rhyme" as the standard for evaluating literary and artistic works, while seeking "clumsy" in form. His poetry theory is the same as the book theory to achieve the essence of the concept through poetry, the phenomenon outside the book, through word and sentence refinement, point painting simulation to achieve spiritual similarity. "self-made family" is the tiring pursuit of poetry and books in his life: in the later years of the valley, the creation of the book forms complementary, and becomes the dual carrier of its emotional expression. It is Mi Fu's thought of calligraphy led by Mi Fu to highlight "self", which is embodied in poetry creation. In poetry and book creation, he paid attention to learning from the ancients: poetics Tang Dynasty, the pursuit of plain and natural style of poetry; the book Zongjin, while paying attention to the basic painting while trying to express the true temperament. Inheritance and retro is Cai Xiang's leading theory in poetry and calligraphy, which made an important contribution to the establishment of the new poetic style and calligraphy style in the Northern Song Dynasty. He stressed the importance of the inner spirit of literature and artistic creation, respected the ancient meaning of Jin and Tang dynasties, gathered the talents of many scholars, paid attention to the basic skills of calligraphy and poetry, emphasized the foundation, and showed a very rigorous style of writing and poetry. The four schools have both reference and innovation in poetics and calligraphy theory, forming a unique and beautiful landscape in the history of Chinese culture. Through the comparative study of their literary and artistic thoughts, we can further explore the personal temperament of the creative subject and the characteristics of the literature and art of the times, and bring a new look to the study of literary history, so as to make breakthrough progress at the intersection of disciplines.
【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2006
【分类号】：J292
本文编号：2505957
[Abstract]:Su Shi, Huang Tingjian, Mi Fu and Cai Xiang are also known as the "four great calligraphy families" in Song Dynasty. Their poetic thoughts are closely related to calligraphy theory: poetry uses language as a tool to create artistic conception, calligraphy uses lines as a means to create pen and ink interest, although they are different literary and art departments, but there is a profound internal unity, the so-called "heterogeneous isomorphism". Are the external display of the spirit of the same creative subject. This paper discusses the consistency and contradiction between the four poetic thoughts and calligraphy theories in order to grasp their overall literary and artistic thoughts. Su Shi put forward the aesthetic view of "Shangyi" calligraphy, and applied it to poetry and calligraphy creation. This is a rebellion and innovation against Tang poetry and Tang books, which opened up a new way for poetry and calligraphy in Song Dynasty. Dongpo pays attention to the spiritual perception in the process of creation, pursues the "natural" expression of literary and artistic creation, makes the line and language have mobility and forms the creative modality of internal and external unity; at the same time, pays attention to the relationship between inheritance and innovation, and also emphasizes "heavenly work", which is full of dialectical thinking in its literary and artistic thought. Huangzhou Cold Food Poems is the highest representative of Dongpo's calligraphy art and the concentrated embodiment of his view of poetry and calligraphy art. His poems about calligraphy are also highly artistic and theoretical. Huang Tingjian pays attention to the spiritual exchange between poetics thought and calligraphy theory. "exemption from vulgarity" is his literature, which has always been advocated and core thought in his artistic view, and takes "rhyme" as the standard for evaluating literary and artistic works, while seeking "clumsy" in form. His poetry theory is the same as the book theory to achieve the essence of the concept through poetry, the phenomenon outside the book, through word and sentence refinement, point painting simulation to achieve spiritual similarity. "self-made family" is the tiring pursuit of poetry and books in his life: in the later years of the valley, the creation of the book forms complementary, and becomes the dual carrier of its emotional expression. It is Mi Fu's thought of calligraphy led by Mi Fu to highlight "self", which is embodied in poetry creation. In poetry and book creation, he paid attention to learning from the ancients: poetics Tang Dynasty, the pursuit of plain and natural style of poetry; the book Zongjin, while paying attention to the basic painting while trying to express the true temperament. Inheritance and retro is Cai Xiang's leading theory in poetry and calligraphy, which made an important contribution to the establishment of the new poetic style and calligraphy style in the Northern Song Dynasty. He stressed the importance of the inner spirit of literature and artistic creation, respected the ancient meaning of Jin and Tang dynasties, gathered the talents of many scholars, paid attention to the basic skills of calligraphy and poetry, emphasized the foundation, and showed a very rigorous style of writing and poetry. The four schools have both reference and innovation in poetics and calligraphy theory, forming a unique and beautiful landscape in the history of Chinese culture. Through the comparative study of their literary and artistic thoughts, we can further explore the personal temperament of the creative subject and the characteristics of the literature and art of the times, and bring a new look to the study of literary history, so as to make breakthrough progress at the intersection of disciplines.
【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2006
【分类号】：J292
【引证文献】
相关硕士学位论文 前3条
1 郭俐兵;蔡襄诗歌与其书法创作之关系研究[D];暨南大学;2012年
2 李娜;米芾“尚趣”美学思想与书法研究[D];山东大学;2012年
3 王慷;中唐论书诗论稿[D];吉林大学;2013年
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