韩经太 北京语言大学
Han, Jingtai, Beijing Language and Culture University
原文Original
诗画交融与中国美学精神——中国古典诗画交融艺术若干焦点问题的再认识
在国际文化视野下重新认识中国文学艺术的独特价值，意味着超越东方表现与西方再现二元对立的绝对判断，而以深度分析的新眼光来审视似有定论的焦点问题，以期得出有益于美学普适之思的民族美学心得。本文聚焦中国诗画交融艺术，基于这一中国美学精神最为典型的实践载体，通过语言艺术与造型艺术各极其妙而又妙处相资的艺术史经验，提炼中国美学精神最富创意的艺术内质——诗情画意出入于体物写实与写意寄托两端的特殊自由精神。诗画交融的原生文化基因，在于先秦诸子共生同构之人格与技艺完美契合的光明境界；诗画交融的创作自觉，在于玄学虚胜与巧艺实对并进时代的诗意绘画艺术；诗画交融的题材典型，在于山水诗画兴盛发达的唐宋诗情画意；诗画交融的理论阐释，在于物色形似与情理意境的整合模式。以诗画交融为典型来提炼阐释中国美学精神，意味着一系列焦点问题的重新思考：孔儒《诗》学之“绘事后素”的寓意与语境；顾恺之“目送归鸿难”的难题求解；王昌龄诗学“三境”说的建构分析；沈括“以大观小”透视法的重新阐释；等等。特别是艺术通才苏轼的美学论述，为中国古典诗情画意的历史主义评析和艺术哲学阐释，提供了具有总结和前瞻意义的典型经验。
译文Translation
The Merging of Poetry and Painting and China’s Aesthetic Spirit: A Review of Several Core Points of the Merging Poetry and Painting in Ancient China
To reappraise the unique value of Chinese literatures and arts within the horizon of international cultures implies that we overcome the judgment of an absolute dualism between eastern expression and western representation, and we use a perspective of in-depth analysis to examine some central limited questions, expecting to arrive at a national esthetic spirit which also can enrich universal ethical thought. This paper gathers elements from the Chinese art of merging painting and poetry, and based on this most typical realization and carrier of the Chinese esthetic spirit, by combining the charms of rhetorical arts and visual arts and thus creating a sublime experience of art, and in this way the most creative essence of art of the Chinese esthetic spirit is displayed – a special spirit of freedom which oscillates between lyric meaning and pictorial intention, between visual description and mental imagination. This original cultural seed of merging poetry and painting was already in the glorious world of the scholars of the pre-Qin period who perfectly combined the dignity of social and political life with arts and practical skills; the creative self-awareness of combining poetry and painting lies in the art of visual expression of lyric meaning by those who combine sublimity and the skills of the arts. The topical pattern of the merging of poetry and painting is the visualization of poetic inspiration (shi qing hua yi) through paintings of mountains and lakes, which reached a peak in the Tang and Song dynasties. The theoretical explanation of the merging of poetry and painting is to be found in the integration pattern of material forms with the sublime intention of the hearts (qing li yi jing). The display and interpretation of the Chinese esthetic spirit through the typical pattern of combining poetry and painting implies that a whole series of central questions need to be revised: the metaphorical context of the “understanding a matter and describing it afterwards” (hui shi hou su) of the traditional Confucianist interpretation of the Shijing, the question of “let the eyes flow out to a vastness” (mu song gui hong nan) proposed by Gu Kaizhi, Wang Changling’s poetic theory of “three spheres” (san jing), the perspective technique of Shen Gua with his “looking at small things from the big ones” (yi da guan xiao), etc., all these questions need explanation. Especially the esthetic theory of the all round talent Su Shi (Su Dongpo) has provided a typical experience which can serve as a concluding vision for the classical Chinese tradition of visualizing poetic inspiration, since it offers a historical analysis and a philosophical interpretation of art.