本心与出位:也论中国传统诗书画关系  

Departmentalism and Intermediality:A Study on the Relationship between Chinese Traditional Poetry,Painting and Calligraphy

作　　者：诸葛沂 ZHU GE-yi(The Master Hongyi and Feng Zikai Research Institute,Hangzhou Normal University,Hangzhou,Zhejiang 311121)

机构地区：[1]杭州师范大学弘一大师·丰子恺研究中心,浙江杭州311121

出　　处：《艺术百家》2025年第1期33-40,89,共9页Hundred Schools In Arts

基　　金：2022年度浙江省哲学社会科学规划课题“艺术学视野下的当代语图关系认知研究”(项目编号:22NDJC136YB)阶段性成果之一。

摘　　要：诗画融通和书画同体,是中国传统诗书画关系颇受标举的特点。但是,中国诗和中国画在批评标准上存在显著差异,钱锺书曾对这种差异的原因提出追问。本文尝试从创作者主体/文人群体的思想层面探幽中国画走向“尚虚”的驱力,从而回答钱氏关于中国诗画批评标准之异的质问;同时在媒介性与技术形式层面对“书画同体”进行总结性解读阐释,认为在以书入画的文人画趋向下,画本位意识日益淡薄,绘画本体发展受阻。中国文人画传统受到诗本位的强力“出位”的巨大影响,因此,中国画以“虚”而胜,诗因“实”而彰,无疑是中国书画在道本原、逸本心、诗本位主导下的艺术发展状况。The integration of poetry and painting with calligraphy and painting is the characteristic of the relationship between traditional Chinese poetry,calligraphy and painting.However,there are significant differences in the standards of criticism between Chinese poetry and Chinese painting,and Qian Zhongshu has questioned the reasons for the differences.This paper attempts to reveal the driving force of Chinese painting to"still empty"from the ideological level of the creator/scholar group,so as to answer Qian's question about the difference of criticism standards of Chinese poetry and painting.Meanwhile,it tries to interpret and explain"calligraphy and painting"in the level of medium and technical form,and points out that under the trend of literati painting with books,the consciousness of painting text is increasingly weak,and the development of painting itself is hindered.This paper holds the view that the tradition of Chinese literati painting is greatly influenced by the strong"position"of poetic standard,Chinese painting wins with"emptiness",and poetry shows"reality",which is undoubtedly the artistic development of Chinese painting and calligraphy under the direction of the original,the free and the poetic standard.

关 键 词：中国画 中国诗 中国书法 媒介性 

分 类 号：J02[艺术—艺术理论]