复古诗学视野下的书画观照——论李东阳的文艺思想  

The view of painting and calligraphy from the perspective of retro poetics:on Li Dongyang′s literary thought

作　　者：陈翔 CHEN Xiang(School of Literature,Politics and Law,Henan University of Engineering,Zhengzhou 451191,China)

机构地区：[1]河南工程学院人文政法学院,河南郑州451191

出　　处：《河南工程学院学报（社会科学版）》2024年第4期78-82,共5页Journal of Henan University of Engineering(Social Science Edition)

基　　金：河南工程学院2022年博士培育基金项目(D2022039)。

摘　　要：李东阳在明代成化、弘治年间的诗坛具有较大影响力,既与其时审美主义的流行及诗性精神的复苏有关,又与其诗歌宗尚的复古品格及诗歌创作的成就有关。李东阳以复古诗学思想(以宗唐为主要趋向)来观照绘画和书法,展现了诗、书、画三种艺术形式各自的审美特性,还从创作者的品格胸襟、知识涵养及艺术作品的意境、风格等方面实现了三者的交融互通,试图以基于复古诗学而来的“格”“意”等范畴建构书画品鉴的艺术标准。Li Dongyang had a significant influence on the poetic circles of the Chenghua and Hongzhi periods,which is related to the popularity of aestheticism and the revival of poetic spirit at that time,as well as the retro character of his poetry and the achievements of his poetic works.Li Dongyang uses retro poetic thought(with the advocacy of Tang poetry style as the main trend)to reflect on painting and calligraphy,showcasing the unique aesthetic qualities of poetry,calligraphy,and painting.He also realized the integration and interoperability of the three in terms of the creator′s character and broad-mindedness,knowledge,and the mood and style of the artwork,attempting to construct the artistic standards for the appreciation of calligraphy and painting based on the categories of"style"and"artistic conception"derived from retro poetics.

关 键 词：李东阳 复古诗学 诗性精神 宗唐 格 意 

分 类 号：I206.2[文学—中国文学]