从中国古代的诗画理论看图文内在张力  

Research on the Internal Tension of Image-Text from the Ancient Chinese Theory of Poetry and Painting

作　　者：杨向荣[1] 巩辉[1] 

机构地区：[1]湘潭大学艺术学院,湖南湘潭411105

出　　处：《包装学报》2014年第3期66-70,共5页Packaging Journal

基　　金：中国博士后科学基金资助项目(2012M510063);中国博士后科学基金特别基金资助项目(2013T60230)

摘　　要：中国古代关于诗画关系的相关命题主要有二:诗画同源与诗画一律。至明清时期,前者演变为"以书入画",后者则演变成"题诗入画"。诗与画是两门不同的艺术,各有其内在张力,诗与画,或者说文学与图像的相互言说,建构了二者互文表达的共同情境,也由此形成了图文关系的张力表达。以诗画关系为切入点,对当下图文关系展开学理渊源层面的考察,将有助于理解当下图文战争的学理立场和图文的互文建构逻辑。In ancient China, there are two main relevant propositions about the relationship of poetry and painting. One is about the homology of poetry and painting, the other is the uniformity of poetry and painting. In Ming and Qing dynasties, the former evolved into ＂calligraphy of painting＂ and the latter evolved into ＂writing poem in painting ＂ Poetry and painting are two different kinds of art and each of them has its own internal tension. Poetry and painting, or the interaction of literature and image, build the common scenario of inter-textual expression, and they form the tensional expressions of image-text relation. Taking relationship of poetry and painting as the starting point, the current image-text relation at the level of theoretical origin was studied. It would contribute to the understanding of academic position of image-text dispute and constructional logic of its inter-textuality.

关 键 词：中国古代 诗画理论 图文关系 张力 

分 类 号：J205[艺术—美术]