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苏轼诗画论并非一成不变,而是逐渐成熟。早期(主要在嘉祐年间)以诗论画,对吴道子绘画精髓体味不足。熙宁、元丰时期,随着习画实践和画学素养的增加,苏轼贯通诗人论画和画学入诗的两个传统,提出“诗画一律”观,其中诗画互参是实现途径,而“清新”美学则是审美维度。在“清新”美学中,“清”是脱去外物之色,得其神理;“新”是对主体有所抑制,与天出新。这是苏轼诗画论流变过程中融通释、道思想的成果,对苏轼的艺术人生乃至后来的中国艺术史都产生极为重大的影响。
Su Shi’s theory of poetry and painting is not static, but gradually matured. Early (mainly in Jiayou years) poetry painting, Wu Taozi essence of painting lack of taste. During the Xining and Yuanfeng periods, with the practice of painting practice and the increase of painting accomplishments, Su Shi put forward the two traditions of poetic painting and painting into poetry Ways to achieve, and “fresh ” aesthetics is the aesthetic dimension. In “fresh ” aesthetics, “Qing ” is off the color of foreign objects, have their gods; “new ” is the subject of inhibition, and the new sky. This is the result of the communion and Taoism in the process of the change of the poetry and painting theory of Su Shi. It has a very significant influence on the artistic life of Su Shi and later on the Chinese art history.