诗画互证:倪瓒山水画“有”“无”相生的哲学精神  

Mutual Verification of Poetry and Painting:The Coexistence of“Being”and“Nothingness”in NI Zan’s Landscape Paintings

作　　者：黄家庭 崔海东[2] HUANG Jiating;CUI Haidong(West Anhui University,Lu'an,Anhui 237012,China;Jiangsu University of Science and Technology,Zhenjiang,Jiangsu 212003,China)

机构地区：[1]皖西学院,安徽六安237012 [2]江苏科技大学,江苏镇江212003

出　　处：《贵州大学学报（艺术版）》2023年第5期71-75,共5页Journal of Guizhou University Art Edition

基　　金：2022年度安徽省哲学社会科学规划一般项目“寿春系成实派文献整理与研究”(项目编号:AHSKY2022D240)。

摘　　要：倪瓒山水画的内容和特点首先可以“无”字来概括,一则技法上以无法为有法;二则内容空寂,惯于表达无人之境;三则可以道家的“无”来表达其思想渊源。但是在倪瓒的诗文中,又清晰可见其自始至终修奉儒学,对民生充满关怀,只是满腔抱负无法施展,故一生充满忧患,此可以儒家的“有”来概括。故以诗入画,诗画互证,可以窥见倪瓒的山水画不仅深含“中和”的意蕴之美,而且寄托了他对圣贤的自许和对理想社会的殷殷期盼,达到了“有”“无”辩证的儒道精神的高度统一。The content and characteristics of NI Zan’s landscape paintings can be summarized with the word“nothingness”.Firstly,they have no fixed methods in terms of techniques;secondly,they tend to convey a state of void in terms of content;thirdly,their ideological origins can be expressed by Taoist concept of“nothingness”.However,in NI Zan’s poetry and prose,it is clear that he practiced Confucianism thoroughly and was full of care for the people’s livelihood.Although he was full of aspirations,he could not put them into practice.Therefore,he faced all kinds of adversity in his life,which can be summarized with Confucian concept of“being”.With the combination of poetry and painting that verify each other,it can be noted that NI Zan’s landscape paintings not only contain the beauty of“Zhong-he”(unity),but also embody his self-evaluation as one of the sages and his earnest expectations for an ideal society that could achieve a great unity between the dialectical spirits of Confucian“being”and Taoist“nothingness”.

关 键 词：倪瓒 道家 儒家 无 有 中和 

分 类 号：J222.2[艺术—美术] J222.6