“思与境偕”和“迁想妙得”辨  

Imagination Following Scenes" and "Transference in Imagination Bringing Unexpected Acquisition

作　　者：王蓓[1] 

机构地区：[1]山东师范大学文学院,济南250014

出　　处：《山西师大学报（社会科学版）》2006年第1期85-88,共4页Journal of Shanxi Normal University(Social Science Edition)

摘　　要：“思与境偕”是唐代诗人司空图提出的中国诗论的一个命题,“迁想妙得”是东晋画家顾恺之提出的中国画论中的命题。这两个命题分别探讨了在中国诗画两种不同的艺术形式中艺术想象的特点,体现了诗歌和绘画在想象技巧上的不同,以及在艺术理想上的共通。“思与境偕”要求诗歌创作中的想象收得更紧一些,而“迁想妙得”要求绘画中的想象放得更开一些。这表明了想象不是无法控制的心理活动,而是可以根据具体情况灵活运用和操控的心理能力。“思与境偕”的目的是营造“意境”;“迁想妙得”追求的是“传神写照”。在强调意与境、形与神的融合方面,二者产生了共鸣。诗、画艺术采用了不同的想象方式,最终却是殊途同归。“Imagination Following Scenes” is a proposition put forward in the Chinese theory of poetry found by Sikong Tu, the famous poet in the Tang Dynasty. “Transference in Imagination Bringing Unexpected Acquisition” is a proposition put forward in the Chinese theory of drawing found by Gu Kaizhi, the famous artist in the East Jin Dynasty. The two propositions studied the characteristics of imagination in the two different art forms： poetry and drawing, and explained the differences in the imaginative technique and the common ground in the art ideals between poetry and drawing. The imagination in poetry should be controlled more strictly, and the imagination in drawing should be much freer. They have different ways to seek the same art ideal.

关 键 词：思与境偕 迁想妙得 艺术想象 

分 类 号：I206.09[文学—中国文学]