从意象到神韵:明代复古派诗学美典的画学路径  

From Imagery to Romantic Charm:The Painting Path of the Classical Poetics of the Retro School in the Ming Dynasty

作　　者：袁宪泼 YUAN Xian-po(College of Liberal Arts,Tianjin Normal University,Tianjin 300387,China)

机构地区：[1]天津师范大学文学院,天津300387

出　　处：《内蒙古社会科学》2023年第1期145-152,共8页Inner Mongolia Social Sciences

基　　金：国家社科基金一般项目“明代‘琴棋书画’的文学书写研究”(编号:22BZW090)。

摘　　要：明代复古派深谙绘画与诗歌的会通之理,以画论诗,以诗咏画,绘画的形神兼备对诗学美典的形成具有重要影响。绘画善于形容,贵意象,前七子以诗中有画的方式追求诗歌意象的塑造。后七子借助绘画,对诗歌写景状物进行探索,彰显出诗歌比兴手法和情景交融的特征。末五子屠隆和胡应麟重视绘画的写神和气韵,从而实现了诗歌美典由意象向神韵的重要转向。总之,由应物象形到气韵生动,伴随着画学观的演变,复古派对诗歌美典的认识和理解越来越深入。The retro school in the Ming dynasty was well aware of the theory that painting and poetry could communicate.It discussed poetry with painting and chanted painting with poetry.The combination of shape and spirit of painting had an important impact on the formation of poetic beauty.Painting is good at describing and valuing images.The first seven poets pursue the shaping of poetic images in a way of painting in poetry.With the help of painting,the latter seven poets further explored the scene like objects in poetry,highlighting the characteristics of the poetic metaphor and the blending of feelings and scenes.TU Long and HU Ying-lin,the last five poets,attached great importance to painting to depict spirit and charm,thus realizing the important turn of poetic beauty from image to charm.In a word,from pictorial to vivid,with the evolution of the painting concept,the knowledge and understanding of the ancient school of poetry beauty has become more and more in-depth.

关 键 词：意象 神韵 画学 复古派 

分 类 号：I206.2[文学—中国文学] I206.4