唐代诗画论中“逸”的内涵考察  

The Contents in “Ease” in the Poetry and Painting Theory of Tang Dynasty

作　　者：梁晓霞[1] 

机构地区：[1]华南师范大学城市文化学院,广东南海528225

出　　处：《吉林师范大学学报（人文社会科学版）》2014年第3期43-46,共4页Journal Of Jilin Normal University:Humanities & Social Science Edition

摘　　要：唐代以来,"逸"在当时的诗论和画论中引起了人们的充分重视。此时,或单用一"逸"字,或用俊逸、艳逸、高逸等合体范畴,或沿用逸方、逸势、逸笔、逸气等与逸相关的名词和概念。通过梳理,我们发现唐人诗画论中的"逸"具有如下内涵:即不循常规,而以内心强大的激情为创作的驱动力;在创作中显示了创作主体对客观现实世界的抗衡和对自我理想世界的高扬;作品的整体风格往往是在时代的主潮流之外,因而带有几分"另类"的色彩。Since the Tang dynasty,“ease”paid great attention in the theory of poetry and painting . At this time, sometimes“ease”was used alone , sometimes“ease”combined with other words to use. These categories and concepts showed the connotation of“ease”in the theory of poetry and paintings of Tang dynasty. Specific content as follows：not following established methods , but producing works with strong passion;Against the real world and displaying their own world;outside the main trend and with alternative features .

关 键 词：逸 诗论 画论 唐代 

分 类 号：I206.2[文学—中国文学]