论文部分内容阅读
在中国上古代,诗与音乐相携而行,诗、乐并举,已无需多说。诗与绘画,曾长期各自发展,虽然《庄子》有画者“解衣盘礴”之说,韩非子有画犬马、鬼魅难易之言,《淮南子》有“画西施之面”、“规孟贲之目”的形神之论,他们皆以哲人而非诗人之心感悟;到中古的魏、晋,诗人曹植、陆机开始注意绘画,前者有《画说》,但只说了“见三皇五帝,莫不仰戴”、“见忠臣孝子,莫不叹息”之类与政教有关的话,
In ancient China, there was no need to say more about the combination of poetry and music. Poetry and painting have long been developed independently. Although there is an explanation for the painter “Zhuangzi” in “Zhuangzi”, Han Feizi draws a dreadful saying that “Huainan Nanzi” The minds of the minds of the philosophers rather than the poets all came to realize that in the middle ages Wei and Jin poets Cao Zhi and Lu Ji began to pay attention to the painting. The former had “paintings” but only said “see the Three Sovereigns and Five Emperors , Do not wear it ”,“ see loyalty to filial piety, never sigh ”and the like,