诗是无形画,画是有形诗——郭熙的绘画理论对杨万里自然山水诗的影响  

Poetry Is Invisible Painting and Painting Is Visible Poetry——How Guo Xi's Painting Theory Influences Yang Wan-li's Poetry of Nature

作　　者：郭艳华[1] 

机构地区：[1]北方民族大学文史学院,宁夏银川750021

出　　处：《广西师范学院学报（哲学社会科学版）》2010年第3期92-97,共6页Journal of Guangxi Teachers Education University：Philosophy and Social Sciences Edition

摘　　要：诗画一体的创作观念在宋代达到高峰,深刻影响着诗人的艺术追求与审美视野。南宋诗人杨万里自觉吸收借鉴北宋学院派画家郭熙的绘画理念,从而形成了独具特色的创作观念,主要体现在以下三方面:一、亲身亲历的审美观照方式;二、以山水写心的超功利审美心境;三、不拘死法、自成一家的技法观念。这充分体现着诗画艺术相互影响、相互促进的创作规律,为我们进一步深入研究古代诗画关系提供了重要依据。The conception that poetry and painting are integrated as an inseparable whole in artistic creation plays its most decisive ever role in Song Dynasty, deeply influencing the artistic pursuit and the aesthetic vision of Song poets. Yang Wanli, a representative poet in Southern Song Dynasty, develops his distinctive creative theory by readily absorbing and applying the painting theory initiated by Guo Xi, a representative of Northern Song Academic School. Yang＇ s creative theory is distinctive in its basing creation on the experiences of the poet＇s own, expressing the poet＇s indifference to material gains by landscape painting, and the poet＇s refraining from sticking to traditional skills hut formulating those of his own. Such a theory of Yang＇ s reveals that poetry and painting promote each other, which provides an indispensable theoretical basis for further research into the interrelationship between ancient poetry and painting.

关 键 词：郭熙 杨万里 山水画 山水诗 诗画一体 

分 类 号：I207.22[文学—中国文学]