试论苏轼画论形成与魏晋玄学之关系  

On the Relationships between Painting Theory of Su Shi and Metaphysics in Wei and Jin Dynasty

作　　者：胡军[1] 

机构地区：[1]江西科技师范学院艺术设计学院,江西南昌330013

出　　处：《衡水学院学报》2008年第3期74-77,共4页Journal of Hengshui University

摘　　要：魏晋玄学作为一种哲学思想,自晋以后,一直以弱化的潜流形式存在于历代士人的精神结构之中,苏轼身上更有着强烈的"玄"的味道。其画论的主体精神,像"诗画一律""常形""常理"观以及"空故纳万物"等思想,都与玄学思想有相通之处。而追根溯源,苏轼画论形成的原因与其"性好老庄"、超然旷达的人格修养分不开,又与北宋文化背景下苏轼自身独特的经历分不开。Metaphysics in Wei and Jin Dynasty, as a philosophy, always exists in the spiritual structure of the historical scholars in the form of subdued undercurrent since Jin Dynasty. It deeply affects Su Shi＇s thoughts. And the main thoughts of his paintings have something in common with Metaphysics, such as ＂painting and poem are in consistency＂, ＂common shape＂, ＂common sense＂ and ＂no desires satisfy with all things ＂. We can also discover that the ultimate reason that why Su Shi has such thoughts is that it closely relates to his transcendent personality and character, and also relates to his own unique experience under the Northern Song Dynasty cultural background.

关 键 词：苏轼 画论 玄学 

分 类 号：J209.2[艺术—美术]