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顾恺之(ca.344—ca.405)①被谢赫(活跃于ca.500—535?)在所著《画品》中称为“声过其实”,无意间竟表明后者的“六法”论,实在是以前者的“传神”论为上文.而顾的“传神”之说通过《世说新语》的广泛传播,简直成了“人物画”的代名词.②又由于顾的“传神”与谢的“气韵”在后者的《画品》中生成为“神韵”这一批评范畴,由是“神韵”便逐渐溢出原有的画论所指而浸入文论与诗论的领域.钱钟书先生在溯此词源时曾言“谈艺之拈‘神韵’,实自赫始;品画言神韵,盖远在说诗之先.”③这里钱先生所谓的“谈艺”,实质上所谈的是一种大文论情形,换句话说,“神韵”的能指涵盖面宽.其实,文化的整体性特征,恰恰是在数门学科共同享用一套术语系统的历史情境中得到有效的说明.因此,
Gu Kaizhi (ca.344-ca.405) ① Sheikh (active in ca.500-535?) Is called “Exaggeration” in his “Paintings,” and inadvertently reveals the latter’s “six laws” On the one hand, the theory of “expressiveness” in the former is the above, and Gu’s “expressiveness” has become synonymous with “figure painting” through the widespread dissemination of “Shi Shuo Xin Yu” The “Charm” of “Delight” and Xie is Generated as “Charm” in the latter’s “Paintings,” because the “Charm” gradually overflows the original painting theory and dives into the literary theory and poetic theory Qian Qianshu said in retrospect of this etymology: “Talk about the charm of the art,” and start from the beginning; In fact, the holistic character of culture is exactly the same in a number of disciplines to enjoy a set of terminology system Of the historical situation has been effectively described.Therefore,