北宋园林诗画关系  

On the Relationships among Garden,Poetry and Painting in Northern Song Dynasty

作　　者：刘华领[1] 彭鹏[1] 

机构地区：[1]石家庄铁道大学建筑与艺术学院,河北石家庄050043

出　　处：《石家庄铁道大学学报（社会科学版）》2014年第2期59-64,共6页Journal of Shijiazhuang Tiedao University（Social Science Edition）

摘　　要：宋代的绘画确立了"以诗入画"的审美原则,苏轼更将其深化为"诗画本一律"的绘画主张;山水田园诗词在北宋大为兴盛,文人大量参与造园,"以文入园,因园成文"使得园林成为文学表现的一个重要题材;在文人诗、画的影响下,北宋文人园林走向兴盛并占据主流地位,在体现"诗化"的同时,也大肆吸取文人画的画理画论来指导造园,又呈现出"画化"的表现特征,诗画的情趣与意境的蕴涵成为北宋写意山水园林的最大特色。The painting in Song Dynasty established the aesthetic principle oi integrating Voetry into painting. Sushi proposed that the poetry should be merged with painting. Pastoral poetry was prosperous in Northern Song Dynasty, at the same time, many literatis participated in the construction of garden, therefore, garden became one of the important themes of literary manifestation as the result of merging literature into the garden. Influenced by the literati＇s poetries and paintings, the literati garden was prosperous gradually and became the dominant form of gardens in Northern Song Dynasty which not only embodied the poetic charm but also absorbed the theories of literati painting to guiding the construction of garden to display the manifestation characters of painting. The sentiment merged with artistic conception of poetry and painting is the predominant feature of the Chinese impressionistic mountain and water garden in Northern Song Dynasty.

关 键 词：北宋园林 诗词 绘画 

分 类 号：I209[文学—中国文学]