高丽文学家李奎报的诗画观探究  

Exploration of Yi Kyubo’s Views on Poetry and Painting

作　　者：杨雅琪 马金科[1] YANG Ya-qi;MA Jin-ke

机构地区：[1]延边大学朝汉文学院,延吉133002

出　　处：《延边大学学报（社会科学版）》2021年第4期47-54,142,共9页Journal of Yanbian University：Social Science Edition

基　　金：国家社会科学基金项目(19BWW024);国家社会科学基金重大项目(16ZDA189)。

摘　　要：李奎报的诗画观具有东方诗学的审美特色,诗书画兼美是其诗画一体关系主张的理论基础。在此之上,李奎报重视诗画间的相互作用,强调诗能够帮助画传意,画能够增加诗的审美价值。与此同时,还关注到蓄画人对诗与画的作用,阐释了蓄画人的审美鉴赏能力对诗与画的创作与流传具有深刻的影响。李奎报也是首次在诗与画的蓄藏关系上提出明确见解的高丽文人,这一点是中朝理论家们少有论及的。并且,李奎报强调诗与画的共同追求是达意传神,强调人物画应求“心”,写形为次,传神为首,以神赋形才是创作人物画的真谛。景物画重视“真态”,即超越实景实物的真实,是景的意境与物的传神,是真而有味。题诗常以拟人绘物,以丰富想象赋予景物灵动之感。强调诗歌创作应以意为主,追求自然;反对蹈袭,学诗要学其气其神而非外在形式。Yi Kyubo’s views on poetry and painting carry the aesthetic features of Eastern poetics.He attaches great importance to the interaction between poetry and painting,and argues that poetry is helpful to convey the conceptions of painting while painting can enhance the aesthetic value of poetry.Yi believes the common pursuit of the both is to fully express the poets’or the painters’thinking and spirit,namely the soul of the figure the first,and then the form.The truth of painting lies in the unity of form and spirit.As for poetry creation,he proposes that poets should focus on natural expressions and artistic conceptions rather than exceedingly following the rules and copying.

关 键 词：李奎报 诗画同源 诗画蓄藏 诗画传神 东方诗学 

分 类 号：J212[艺术—美术] I312.072[文学—其他各国文学]