儒释诗学观视域中的苏黄墨竹诗  

The Su Shi and Huang Tingjian Poems on Chinese Ink Bamboo Painting in the Perspectives of Confucianism and Zen Buddhism Poetics Theory

作　　者：王苑[1] 

机构地区：[1]南开大学文学院,天津300071

出　　处：《临沂大学学报》2016年第4期88-94,共7页Journal of Linyi University

摘　　要：儒学、禅宗、诗歌、绘画分属思想、宗教、文学、艺术不同门类,发展至宋代,都各已独立不倚,不相统属。但由于时代之学风士习,或作家之素养专长,往往促成儒释思想的融汇,并进一步渗透进诗画创作的观念意蕴与美学取向。这其中,文人画可做鲜明之代表,而墨竹图又为其中之典范。士人爱竹成为风尚,遂生发画竹、咏竹、题颂墨竹的文化活动,是宋人复雅崇格的艺术精神的突出表现。而这一时代之学风作用于此,故而形成了诗画创作精神与手法之间融贯会通。儒家传统诗教的兴寄、比德,与禅宗的洒脱、游戏,在墨竹诗画领域内相辅相成、并行不悖,既彰明了宋人的文化格调,又突显了宋诗的艺术特质。Confucianism and Zen, poetry and painting belong respectively to different fields as religion, literature, art, and all have independent leaning till their development to Song dynasty. But due to the academic atmosphere of that age, or the cultural literacy of artists, it tended to the contribution of the integration of Confucianism, Buddhism thought, and to further penetration of the creation of poetry and the concept of connotation and aesthetic orientation. The literati paintings can be regarded as the repre- sentatives and the bamboo ink painting as the model. Bamboo affection has become fashionable, hence painting bamboo, chanting bamboo become the focus of cultural activities. Bamboo ink paintings and poets are in the complex, the manifestation of the spirit of art. But in this era of style and the academic effect, which formed the creative spirit and the style of poetry. Confucian tradition- al poetry theory of moral expression and analogy, the free and easy, the game of art in the Zen Buddhism in bamboo ink painting and poetry writing have completed each other, and parallel, which reveals the culture of the Song poets＇ style, and highlights the Song poetry＇ s art characteristics.

关 键 词：儒释互补 墨竹诗画 兴寄 比德 游戏 

分 类 号：I207.6[文学—中国文学]