论文部分内容阅读
苏轼“诗画一律”论从文艺批评视野看,涉及诗与画艺术风格和审美效果上相通、艺术构思和创作方法上相通、画家诗人身份同一、同为主体情感之载体等方面;在根本上则是源自于“情本”哲学,作为本体的“情”是打通各类艺术的根源与动力;这一思想贯穿于他的文艺观各个方面,以之为哲学依据的“诗画一律”论也具有了自由的精神、自然的风格、贵真的旨趣、淡远的境界等系统内涵(详见拙文《苏轼“诗画一律”论试析》,《中国苏轼
From the perspective of literary and art criticism, Su Shi relates to the connection between the artistic style and aesthetic effect of poetry and painting, the connection of artistic conception and creation method, the identity of painter poets and the carrier of the main emotion, Fundamentally, it is derived from the “love” philosophy, as the “love” of the ontology is the root and motivation to open up all kinds of art; this idea runs through all aspects of his literary view, as a philosophical basis S theory of poetry and painting also has the systematic connotation of the spirit of freedom, the style of nature, the purpose of expensive realism and the distant realm (for details, Chinese Su Shi