荒寒美学:柳宗元《江雪》诗意画艺术学研究  

Aesthetics of Desolation and Cold:An Artistic Study of Poetic Painting in Jiang Xue by Liu Zongyuan

作　　者：谢九生 Xie Jiusheng

机构地区：[1]江西师范大学美术学院

出　　处：《中国美学》2022年第2期135-146,共12页Chinese Aesthetics

基　　金：中央高校基本科研业务费专项资金资助;江苏省普通高校研究生科研创新计划资助项目“古代‘艺术’列传研究”(KYZZ16_0111)阶段性研究成果。

摘　　要：柳宗元《江雪》诗意画成为中国传统绘画的重要组成部分,并与表现为“荒寒冷寂”美学意味的中国古代雪景山水画有着紧密的关系。以寒林和雪景为题材与主题成为中国传统绘画“水墨化”的主要特点,以及“诗画一律”的诗画关系的发展,从而形成以“寒江独钓或钓雪图”和“江天或寒江暮雪图”为主题或画题的诗意画。同时历代柳宗元《江雪》诗意画的发展都是儒、禅、道美学思想影响下对于“荒寒美学”的追求,包括“荒寒孤峭”的五绝《江雪》在内的柳宗元山水文学主要受到“综合儒释”的影响。而且,柳宗元《江雪》诗意画作为文人画或文人山水画的重要组成部分,也是对于“荒寒美学”之推崇的中国文化精神的代表之一,由此提出柳宗元《江雪》诗意画对于古代艺术学研究的价值,以及柳宗元山水文学和美学的文化意义。Liu Zongyuan’s poetic painting Jiang Xue has become an important part of Chinese traditional painting,and has a close relationship with the ancient Chinese landscape painting with the aesthetic meaning of“desolate and cold”.Taking cold forest and snow scenery as the theme has become the main feature of Chinese traditional painting“ink painting”,and the development of the relationship between poetry and painting with“uniformity of poetry and painting”,thus forming poetic paintings with the theme or painting title of“Han River fishing alone or fishing for snow”and“Jiang Tian or Han River dusk snow”.At the same time,the development of poetic paintings of Liu Zongyuan’s Jiang Xue is the pursuit of“desolate aesthetics”under the influence of Confucianism,Zen and Taoism aesthetics.Liu Zongyuan’s landscape literature,including the five unique Jiang Xue,which is“desolate and lonely”,is mainly influenced by“comprehensive Confucianism and Interpretation”.Moreover,Liu Zongyuan’s poetic painting Jiang Xue,as an important part of literati painting or literati landscape painting,is also one of the representatives of Chinese cultural spirit,which highly values Liu Zongyuan’s poetic painting Jiang Xue for the study of ancient art and the cultural significance of Liu Zongyuan’s landscape literature and aesthetics.

关 键 词：荒寒 柳宗元 《江雪》诗意画 诗画关系 山水美学 

分 类 号：J212[艺术—美术]