论程抱一作品中的诗画意境  

On the Artistic Conception of Poetry and Painting in François Cheng’s Creation

作　　者：唐毅[1] Tang Yi

机构地区：[1]兰州交通大学外国语学院

出　　处：《法语国家与地区研究（中法文）》2024年第3期1-9,90,共10页Etudes Francophones

基　　金：兰州市哲学社会科学规划项目“20世纪旅法华人法语文学发展史研究”(项目编号:23-B40)的阶段性成果。

摘　　要：法国华裔作家程抱一曾以西方结构主义和符号学方法对中国传统诗画艺术做系统研究,这使他备受西方学界赞誉。他在早期诗画共论的批评实践中呈现出整体、转化、和谐等美学意蕴,进而在诗画一体的文艺创作中深入存在、死亡、虚、元气、道等哲学思考,力图在跨越中西文化的对话中揭示隐秘而真实的生命和世界。诗画共论的批评范式和诗画一体的创作风格共同营造出趋虚向道、走向大开的诗画意境,构成程抱一文艺思想的重要面向。得益于中西合璧的诗画艺术,他在多个领域的写作都体现出生命存在的和谐以及宇宙整体的共鸣。For his systematic study on traditional Chinese poetry and painting in Western structuralism and semiotics,French-Chinese writer François Cheng has received much acclaim in Western intellectual circles.In his early critical practice of poetry-painting,Cheng presented the aesthetic meanings of integrity,metamorphosis,and harmony,delving into philosophical reflections on existence,death,the Void,Vitality,and Tao.His literary and artistic creation was marked by the unity of poetry-painting and strived to reveal a secret real life,reality,and world through dialogue between Chinese and Western cultures.The critical paradigm and creative style of poetry-painting create an artistic conception of poetry and painting that moves from the Void towards the Tao;their openness contributes an essential aspect of Cheng’s thoughts on literature and art.Benefiting from the combined Chinese and Western art of poetry-painting,his writings in many fields have embodied the harmony of being and the resonance of the entire universe.

关 键 词：程抱一 诗画意境 整体观 道家思想 

分 类 号：H059[语言文字—语言学]