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“诗是有声画,画是无声诗”已经被人们认同,那么诗与画相互的关系到底怎样?诗之有画意,自古有之,十五国风及楚赋都不乏画意盎然之佳作。中国画在唐以前由于受“成教化,助人伦”的儒家思想的熏染,人物画以君主、贤臣为题材,缺乏诗意,何况礼节规矩很多,画家的个性难以表现。魏晋时期,诗多为吟怀之作;到了唐代,吟山咏水的山水诗兴盛起来,客观上为中国山水画提供了借鉴的榜样。它虽然不是画,但是经过读者的想象,即读者的迁想妙得,就是一幅活生生的优美画卷,这不能不说是中国艺术史上的一个奇特现象,是天成的,山水画从而产生。即与山水诗互为一体,是一对孪生姐妹,难舍难分。诗中有画、画中有诗成了中国诗人和画家共同追求的境界,同时也成为一个审美的标准。画主外形,诗主内容。中国画的理想以能表现内容为目的。何为中国画的理想以能表现内容为
“Poetry is a sound painting, painting is a silent poem ” has been recognized by the people, then the relationship between poetry and painting in the end how? Poetry has a painting, since ancient times, there is no shortage of fifteen national style and Chu Fu posthumous masterpiece . Before the Tang Dynasty, Chinese painting was influenced by the Confucianism of “enlightenment and benevolence” and the figures were painted with monarchs and virtuous officials as subject matter. They lacked poetic meaning. Besides, the rules of etiquette were numerous and the individuality of painters was difficult to express. During the Wei and Jin dynasties, poetry was mostly made by Yin Huai. By the Tang Dynasty, the poems of Yin Mountain and Yong Shui flourished, providing an objective model for Chinese landscape painting. Although it is not a painting, it is a peculiar phenomenon in the history of Chinese art, a natural phenomenon and a landscape painting, which is produced by readers ’imagination, that is, readers’ wonderful thoughts and imagination are vivid beautiful pictures. That landscape poetry and mutual integration, is a pair of twin sisters, hard to distinguish. There is a painting in the poem, and poetry in the painting has become a realm common to Chinese poets and painters, and has also become an aesthetic standard. Painter appearance, the main content of the poet. The ideal of Chinese painting is to express the content for the purpose. What is the ideal of Chinese painting in order to show the content for