苏轼“画中有诗”思想再探  

A Further Examination of Su Shi's Thought “Poetry in Paintings”

作　　者：李方红 Li Fanghong(Fine Arts Institute,Chinese National Academy of Arts)

机构地区：[1]中国艺术研究院美术研究所

出　　处：《美术》2024年第6期107-113,共7页Art Magazine

基　　金：2022年度国家社科基金艺术学一般项目《宋代绘画的题跋研究》(项目编号:22BF105)的阶段性研究成果。

摘　　要：宋代诗画关系演变的内在动力是审美观念的改变,其内核是强调绘画中的诗意,即苏轼的“画中有诗”。宋代诗画关系演化的外在表现则是绘画风格的变化。因此,苏轼的“画中有诗”思想,实质上为宋代绘画的风格发展指明了方向,并持续推动了绘画史上的“宋元之变”。具体而言,苏轼的“画中有诗”之“画”指的是士夫画,其绘画风格标准是诗意与格法,并成为画学考核的主要标准。更进一步,“画中有诗”思想的广泛流传,反映了宋代文人画家地位的提升,进而推动了绘画地位的上升。The internal force that drove the evolution of the relationship between poetry and painting during the Song Dynasty was the change of aesthetic concepts, the core of which was to emphasize poetic quality in paintings, namely poet Su Shi's thought “poetry in paintings”. This evolution was demonstrated as the change in painting style. It is fair to say that Su Shi's thought actually set a direction for the painting style during the Song Dynasty, and promoted the “Song-Yuan transition” in painting history. Specifically speaking,the “paintings” in Su Shi's thought referred to scholar paintings. The standard of this painting style was poetic quality and rules, which became a major criterion for painting assessment. What's more, the wide spread of the thought reflected the improvement of the status of literati painters during the Song Dynasty, which in turn raised the status of painting.

关 键 词：诗画一律 画中有诗 士夫画 诗之余 

分 类 号：J212[艺术—美术] I207.22[文学—中国文学] K244[历史地理—历史学]