以疏淡之笔写清逸之诗——论倪瓒诗、书作法的互通性联系  

Fresh and Refined Poems with a Simple and Elegant Writing Style——Study on the Intercommunity of Ni Zan's Poems and Calligraphy

作　　者：庞晓菲 ZHOU Heng(School of Literature,Jiangsu University, Zhenjiang 212013, China)

机构地区：[1]华东师范大学中国语言文学系,上海200241

出　　处：《江南大学学报（人文社会科学版）》2018年第3期64-70,共7页Journal of Jiangnan University：Humanities & Social Sciences Edition

基　　金：国家社科基金重点项目"中国审美意识通史"(批准号:11AZD052)

摘　　要：倪瓒在元代以诗、书著称,其文艺思想有着内在的联系和互通。他"据于儒、依于老、逃于禅"的人格精神在他诗歌、书法创作中呈现出创作范式与审美风格的共性:诗歌主张"吟咏性情之正",书法追求"率意""天真"之法,诗、书互补,共同塑造他饱满圆融的主体人格;诗歌转益多师,书法博采众家,诗、书有意于拟古,继承中求"新变"的创作实践互通;论诗注重幽深闲远的"清逸"诗风,论书追求逸笔纵横的"疏淡"书风,诗、书审美趋同,是对"逸气"审美理念的彰显。In the Yuan Dynasty,Ni Zan,whose literary thought has inner relationship and interflow,was well-known for his poems and calligraphy.Based on Confucianism and Lao Zi＇s theory and escaping from the reality with Zen Buddhism,his personality demonstrates the universality of creation paradigm and aesthetic style in his poems and calligraphy.He insisted that,as for poems,creation should be based on Confucianism in a natural way,while calligraphy should focus on simplicity.The complementation between poems and calligraphy makes his personality full and easy-going.He learned poetry from many masters and his calligraphy gained advantages from different schools.He tended to imitate ancient poems and calligraphy,and to make innovation out of the heritage during his creation.He discussed poetry in a deep,fresh and refined style and discussed calligraphy in a natural and elegant style.His convergence between poems and calligraphy reflects the aesthetic idea of formlessness within form.

关 键 词：倪瓒 诗歌 书法 互补 互通 

分 类 号：I206[文学—中国文学]