詩畫本一律－談中國山水詩與山水畫的異形同神

Chinese Poetry and Painting: Two Different Art Forms Possess the Similar Quality

何淑貞(Shu-Chen Ho)

《玄奘人文學報》 1期 (2003/07) Pp. 27-43

https://doi.org/10.29956/HCHJ.200307.0002

摘要

詩畫一律是蘇軾對詩畫創作的見解，在中國古代藝術理論上相當重要。詩畫雖分屬不同的藝術領域，但是詩情畫意互相滲透交融，在中國的山水詩和山水畫表現得最為透徹，無論在創作心靈上、意境傳達上、思想文化史的背景上都是一律的。由於詩人畫家同樣是用他們的藝術心眼觀照自然和社會，各以不同的載體表達相同的情意。從內涵的審美意識來看，其源頭同出一個自覺迷惘，必須自營丘壑、復歸自然來安頓生命的魏晉時代，兩者都是追求暢神適意，集中折射出文人士子儒道雙修、超脫凡塵的胸襟氣度。本文從山水詩、畫的創作心靈和理論分析，以見詩畫相通互補的特點，並說明山水詩、畫是中國士子安頓生命的精神原鄉。

關鍵字

詩畫一律 ； 詩畫美學 ； 山水詩 ； 山水畫 ； 精神原鄉

並列摘要

According to Shih Su, Chinese poetry and paintings possess the same essential quality. It's a rather important comment in ancient Chinese art theory. Although poetry and painting belong to different art categories, their poetic quality and artistic mind always interact with each other. No matter in the sate of creative mind, expression of mood and the background of culture history, they all reveal a similar pattern, especially in landscape poetry and landscape painting.
Ancient Chinese poets and painters observe the nature and society from their artistic vision, expressing the same emotion through ways of their own. According to literary estheticism, they inspired by scholars from Wei and Chin Dynasty. During that era, scholars dissatisfied the government and confused by their circumstances. They all have to create territory in their own mind and settle themselves in the natural scenery to accomplish their completeness. The ancient Chinese poets and painters both pursuit the fluent and appropriate expression in their art forms. They all reflected the fact that all scholars devoted to Confucianism and Taoism, and their ambitious mental outlook to reach the immortal mind.
This article discusses the creative mind of Chinese landscape poetry and landscape paintings. It also analyzes the common traits shared by both of the art forms, unraveling the secret ingredients of the spiritual settlement used by ancient Chinese scholars.