姜夔书法与诗法的融通观照  

Fusion Understanding of Jiang Kui's Poetics and Calligraphy Theory

作　　者：杨万里[1] 

机构地区：[1]南开大学文学院,天津300071

出　　处：《内蒙古大学学报（哲学社会科学版）》2014年第1期84-90,共7页Journal of Inner Mongolia University(Philosophy and Social Sciences)

摘　　要：姜夔以"精神"、"风神"论书和以"气象"、"韵度"论诗,在根本上都是主体神采风貌的体现。诗书可观人之精神性情,创作者的涵养直接决定诗书的意格。作诗须含美刺义理,书写须依点画施设情理,诗书虽形式变化多端而义理法度不可乱。同时,他又主张不被重形式之今法所缚,精思悟入以自成一家。书论中笔法的萧散洒落、"尽字之真态"和诗论中的"天籁自鸣"、"无见乎诗",均通向了"自然高妙"的审美旨趣。在反对雕刻、"剥落文采"之后,最终形成了中和平淡的美学风格。Jiang Kui made comments on poetry by ＂atmosphere＂ and ＂rhyme＂ , and meanwhile he used ＂Aeolus＂ and ＂ spirit＂ to criticize the calligraphy. Fundamentally they are the reflection of author＇s spiritual style. Therefore, the author＇s excellent character directly decided the character of his poems and calligraphy. Jiang Kui claimed that poetry must convey praise or satire. Moreover, the dots and strokes of calligraphy should stand to reason. Although the form of poetry and calligraphy most be changeable, the argumentation law cannot be broken. He advocated not to take off from the ancient law while not to be bounded by recent law. So the writer must think carefully in order to understand and to acquire something. In his theory of calligraphy, he holds the style of writing, mixed square and round, degage and elegant, and the poetics of ＂ringing like the sounds of nature ＂, and ＂not seeing poetry＂. All these pointed to natural aesthetic pursuit, and eventually formed neutral and wateriness aesthetic style.

关 键 词：姜夔 诗法 书法 融通 

分 类 号：I206.2[文学—中国文学]