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在神州广阔的大地上,古代无数能诗善画的文人士大夫,给后人留下了许多具有永恒魅力和脍炙人口的不朽诗篇和美丽画卷。有关“诗”与“画”的界限与通感,研究者们已经有很多论述,而且能从很多古人的诗作中找到证据。古人张舜民对诗画问题有“诗是无形画,画是有形诗”的精辟论述。李硕在《古今诗话》中说:“诗家以画为无声诗,诗为有声画,诚哉是言。”其实,诗不一定都是“诗中有画”,词藻繁富精丽,隐晦讽喻,过分雕琢的诗,容易影响读者的理解与联想,因其重在语言文字的谲奇和绚丽,淡化了审美感受中的“画意”。寓情于景,清新自然的山水诗、田园诗、风景诗和边塞诗,容易使读者在欣赏诗的审美感受中联系到诗人描写的景色,诗情画意,又重在于画意。当用绘画意境来作为欣赏诗的审美标准时,就应该进一步深讨其中“诗”和“画”的内容。纵观中国的诗,有婉约,也有豪放,有抒发诗人的爱国情
On the vast land of China, countless ancient literati and poets who are good at poetry and painting left a lot of immortal poems and beautiful pictures with lasting charm and universal popularity. For the boundaries and sense of senses of “poetry” and “painting”, researchers have already made a lot of expositions and can find evidence from the poems of many ancient people. The ancients Zhang Shunmin on poetry and painting problems are “poem is intangible painting, painting is visible poetry,” the incisive discourse. Li Shuo in “ancient and modern poetry,” said: “The poet as a silent painting poetry, poetry for the sound painting, sincere is the language.” In fact, the poems are not necessarily “poetry painting” rhetoric rich and beautiful, Obscure allegory, over-polite poems, easy to affect the reader’s understanding and association, because of its emphasis on the language of the odd and gorgeous, downplay the “artistic meaning” in the aesthetic experience. Feelings of the King, fresh and natural landscape poetry, pastoral poetry, landscape poetry and frontier poetry, easy to make readers appreciate the beauty of poetry in the poet describes the scenery, poetic, but also focus on painting. When using the artistic conception of painting as the aesthetic standards of appreciating poetry, we should further discuss the contents of “poetry” and “painting”. Throughout China’s poetry, there are graceful, but also bold, there are poems to express the patriotic love