摘要
相对于苏轼诗画思想中的其他论点,"诗画互有"以高度的概括性和明晰性直截了当地指出了文学与绘画两种艺术门类互喻、互仿的可能性,为我们的研究提供了理论路径。而《记承天夜游》等诗文作品蕴藉的画面感与《枯木怪石图》隐喻的文学意象,则为我们探讨苏轼诗画思想提供了具体的文本。
Compared with the other arguments in Su Shi＇s thoughts on poems and pictures, the joint of poems and pictures, with its exact summary and clear expressions, came straight to the point that the two artistic types of literature and pictures had the great possibility of mutual analogies and imitation. It paved the theoretical path for us to study Su Shi＇s creations in poems and pictures. Meanwhile, On The Night Visit to Chengtian Temple, with his other works and proses, showed us appearances of pictures, and The Picture with Dead Wood and Queer Stone contained a metaphor of literature images; they both provided us concrete texts to probe into Su Shi＇s thoughts on the relation between poems and pictures.
出处
《山东大学学报（哲学社会科学版）》
CSSCI
北大核心
2017年第1期131-136,共6页
Journal of Shandong University(Philosophy and Social Sciences)
基金
江苏省高校哲学社会科学基金资助项目"中国艺术和中国精神研究"(2016ZDIXM003)
关键词
苏轼
诗画互有
《记承天夜游》
《枯木怪石图》
Su Shi
The joint of poems and pictures
On The Night Visit to Chengtian Temple
ThePicture with Dead Wood and Queer Stone
