格调诗学对李东阳书画评论的影响  

The Influence of Style Poetics on Li Dongyang’s Criticism on Painting and Calligraphy

作　　者：张毅[1] Zhang Yi

机构地区：[1]南开大学文学院

出　　处：《文学与文化》2022年第2期42-50,共9页Literature and Culture Studies

基　　金：国家社科基金重大项目“中国近世书画文学文献整理和研究”(19ZDA275)的阶段性成果。

摘　　要：作为明代格调诗学的代表人物,李东阳将其“诗必具眼”的主张运用于书画鉴赏,既包括对宋元时期著名画家的批评,也涉及当代书画名家的评论。他追求诗与书画艺术的相通,于是有“诗家画格还相宜”“画家风物总宜诗”等说法;并以“意格”统摄诗法与画法、书法,其着眼点不在具体的技法和规范,而是强调二者在更高层次的意境风格方面的融通。他以为进行绘画和书法创作不仅需饶有诗意,还要能显示作者的个性风格。A representative of the style poetics in the Ming dynasty,Li Dongyang applied the theory of“poetry must have eyes”to the appreciation of painting and calligraphy,including the criticism on the famous painters of the Song and Yuan dynasties and the comments on the contemporary masters of painting and calligraphy.He pursued the integrity between poetry and the art of painting and calligraphy,hence the saying of“a poet composes picturesque poems”and“works of a painter is always poetic”.He employed his“poetic writing style”to poem writing,painting method and calligraphy,focusing on the linkage between poetry and painting at the higher level of artistic conception,instead of on the specific techniques and norms.He maintained that painting and calligraphy not only involve poetry,but also the author’s personality style.

关 键 词：格调 诗学 绘画 书法 

分 类 号：I207.22[文学—中国文学] J212[艺术—美术]