| “诗画一律”说的源流及其美学内涵 |
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| 引用本文： | 李良中.“诗画一律”说的源流及其美学内涵[J].十堰职业技术学院学报,2006,19(6):47-50. |
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| 作者姓名： | 李良中 |
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| 作者单位： | 乐山师范学院,科研处,四川,乐山市,614004 |
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| 摘 要： | 中西方的“诗画一律”说都有其深刻的文化背景和历史背景,并不仅仅是对艺术规律的总结而言。苏轼首倡的“诗画一律”说,有具体的上下文语境,同时也是为文人画张本。西方文艺理论重视诗画的不一律,其“诗画一律”说只是一句口头禅。本文辨析了“诗画一律”说的来龙去脉,并在钱钟书诗画观的基础上,对“诗画一律”的美学内涵进行了揭示。
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| 关 键 词： | 诗画一律 苏轼 莱辛 钱钟书 |
| 文章编号： | 1008-4738（2006）06-0047-04 |
| 收稿时间： | 2006-10-26 |
| 修稿时间： | 2006年10月26 |
The headstream and esthetic connotation in the agreement of poems and paintings |
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| LI Liang-zhong.The headstream and esthetic connotation in the agreement of poems and paintings[J].Journal of Shiyan Technical Institute,2006,19(6):47-50. |
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| Authors: | LI Liang-zhong |
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| Abstract: | The agreement of poems and paintings does not only mean the summary of the art regulation,it also has its deep cultural background and historic background.The agreement of poems and paintings, initiated by Su Shi,has a concrete context and at the same time it sets up a historic basis for scholars.Western literary theories usually pay attention to the disagreement of poems and paintings and take the saying of the agreement as a pet phrase.This paper differentiates and analyzes the headstream of this agreement,and opens out its esthetic connotation on the base of viewpoint of Qian Zhong-shu about poems and paintings. |
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| Keywords: | the agreement of poems and paintings SU Shi Lessing QIAN Zhong-shu |
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