【作者】 贺小敏；

【导师】 张毅；

【作者基本信息】 南开大学 ， 中国古代文学， 2013， 博士

【摘要】 南宋诗学与书画艺术的综合研究,包括彼此的影响和在审美上的交融互补,表现为诗书画在审美观念和审美思维上的融合,呈现出复雅、崇格和尚意的总体趋势。本文试图以南宋诗歌思想的发展为线索,参照书论与画论,结合南宋士人心态和文艺创作,阐述这一时期诗学与书画艺术的交融互补的历程。全文分为四章。第一章,论述南宋初期的诗学转向对书画复古思潮的影响。诗歌创作方面,陈与义、吕本中、徐俯、韩驹、曾几等人的诗学思想,除了表现为融合苏、黄诗风并提倡“活法”理论和“悟入”思想外,还追求回归唐音的清新自然的诗歌风格。绘画方面,以米友仁和江参为代表的文人画赓续北宋文人画的传统,而以李唐为代表的画院画家群则继承了北宋宣和画院的绘画传统,以复古为创新,开创了南宋山水画的新格局。书法方面,宋高宗以帝王身份提倡和实践复古的书法,他学习魏晋名家和唐宋大家的书法,形成“二王”体系下的个人化,影响很大。崇尚古雅与清新,成为南宋初期文艺领域的核心审美理念,也是诗、书、画融合的思想基础。第二章,分析南宋中叶诗学与书画艺术的崇格追求。中兴四大诗人的诗学思想与书法都表现出了“崇格”的倾向,陆游主张工夫在诗外,作诗以气格为尚；范成大的诗歌与书法讲究气韵高格；杨万里的“诗味”说也讲究高雅格调,尤袤的诗书也重在表现意趣品格。张孝祥的诗词风格近于苏轼的清旷和杜甫的沉郁悲壮,颇多感怀时事之作,追求悲壮的气格和坚贞的人格相统一。刘松年的绘画风格多样,笔精墨妙,清丽严谨,兼众画之长而臻其妙,追求绘画的艺术品格,代表了南宋中叶画坛崇格的思想倾向。多才多艺的姜夔,虽然是个终身未仕的落魄文人,但却引领了文艺领域自然高妙的境界追求。第三章,阐述南宋后期的宗唐诗风与尚意书画的关系。首先是江湖诗人群体的学唐风气和尚意诗情,这个诗人群体以“永嘉四灵”为先锋,以戴复古和刘克庄为主力,学习晚唐诗歌,形成苦吟之风,尚意之风盛行。书法方面,张即之师法唐宋名家,兼收并蓄而自成一家,形成了严谨小巧的尚意书法。绘画方面,以马远和夏圭为代表的画院画家,分别以水墨苍劲和雄奇简练的画笔追求绘画的雅趣,代表了南宋后期画院的尚意之风。第四章,关于南宋季世的遗民诗情与书画逸格。南宋末年国破家亡,爱国诗思和遗民情怀成为此期诗人主要表达的内容,书画艺术的悲风遗韵在亡国前后也悄然奏响。南宋遗民诗人群体的诗歌主要表达了遗民情怀和故宋之思,如汪元量亲历去国之悲,诗情悲凉,表现了他的亡国之痛和逸格崇尚。白玉蟾的题画诗和书画创作以及赵孟坚的诗画书学,具有崇尚逸格的思想倾向,代表了南宋季世书画创作的最高水平。更多还原

【Abstract】 The comparative study on the Southern Song Dynasty poetics, painting and calligraphic art, which includes the mutual influences among them as well as their integration and complementation in aesthetics, and which presents integration of poetry, calligraphy and painting in aesthetic concept and ideology, displays a general trend of Fuya, Chongge and Shangyi. This paper attempts to follow the development of poetic thoughts in the Southern Song Dynasty, so as to elaborate the integrative and complementary course of poetics, calligraphy and painting art in this period, with the reference of theories on calligraphy and painting, as well as the mentality and literary creation of scholars in this period. The full text is divided into four chapters.The first chapter discusses the influence of the poetic transformation in the early Southern Song Dynasty to the retro trend of painting and calligraphy. With regard to poetic creation, the poetic ideologies of poets like Chen Yuyi, Lv Benzhong, Xu Fu, Han Ju and Zeng Ji, not only reflected fusing the poetic styles of Su Shi and Huang Tingjian, as well as advocating the Huofa Theory and Wuru Thought, but also aspired after the fresh and natural poetic style belonging to Tang poetry. As to painting, on one hand, literate painters represented by Mi Youren and Jiang Can inherited and developed the literati painting traditions of the Northern Song Dynasty; on the other hand, academic painter group with Li Tang as representative took over the conventions of Xuanhe Imperial Paiting Academy in the Northern Song Dynasty, based on which, this group created a new pattern for the mountains-and-waters painting of the Southern Song Dynasty. When it came to calligraphy, Song Gaozong, with his emperor identity, recommended and practiced the ancient calligraphy. Through learning from masters of the Wei Dynasty, the Jin Dynasty and the Tang Dynasty, he developed his personal style under the calligraphic systems of Wang Xizhi and Wang Xianzhi. His actions exerted a tremendous influence. Advocating elegance and freshness became the core aesthetic concept of the literary and artistic realm in the early Southern Song Dynasty, and was also the ideological foundation of fusing poetry, calligraphy and painting.The second chapter analyzes the pursuit of Chongge in the middle Southern Song Dynasty which means seeking a noble and elegant character in poetics and calligraphy. The poetics and calligraphy of the great four Zhongxing poets showed the tendency of Chongge. Lu You argued that efforts should be made beyond poetry itself, and that imposing manner and uplifting spirit should be recommended. Besides, Fan Chengda’s poems and calligraphy paid much attention to gracious quality and noble spirit. Then, Yang Wanli’s Theory of Poetic Taste was also particular about elegant and exquisite style. You Mao’s poems and calligraphy stressed artistic effects and a noble character as well. Zhang Xiaoxiang’s poetry style was close to Su Shi’s which was fresh and broad-minded, and to Du Fu’s which was depressed and solemn, seeking the unity between solemn and stirring quality and faithful personality, with quite a lot of works that recalled current events with sentiment. And Liu Songnian’s paintings which showed diverse styles that were exquisite, elegant, and rigorous, absorbed the essences of different painting styles in order to reach a wonderful state. He devoted particular care to the artistic character of painting, which represented the ideological tendency of Chongge in the middle Southern Song Dynasty. What’s more, the versatile Jiang Kui, though a broken-down literate never having been an official all his life, led the aspiration of natural ingenious state in the artistic field.The third chapter expounds the relationship between the atmosphere of learning Tang poetry and calligraphy and painting of Shangyi which meant interest and charm in the late Southern Song Dynasty. First, the Jianghu poet group, with the mood of learning Tang culture and poetics of Shangyi, taking Yongjia School as vanguards, Dai Fugu and Liu Kezhuang the main force, learned poetry of the late Tang Dynasty so as to form a bitter lyric style and popularize the mood of Shangyi. Speaking of calligraphy, Zhang Jizhi stroke out a new line for himself by imitating and absorbing the essences from famous masters of Tang and Song Dynasties, and formed a self-contained compact calligraphy of Shangyi. In painting, Ma Yuan and Xia Gui on behalf of academic painters explored elegance respectively by means of vigorous ink or simple magnificent drawings, which represented the general mood of Shangyi in the late Southern Song Dynasty. The fourth chapter is on the adherents of the late Southern Song Dynasty whose poetry, painting and calligraphy were natural and unrestrained with a noble character. When the Southern Song Dynasty was defeated and the home lost, the patriotic poetic emotions of those adherents became the main expressions of poets during this period. And the sad tone was also played quietly around the complete collapse of the country. The poetry of those adherents mainly expressed their homesick feelings for their Song homeland. For instance, Wang Yuanliang, who had experienced the bitterness of leaving homeland, wrote sorrow and melancholy poems to convey the pain of losing his nation as well as the pursuit of a noble and elegant character. What’s more, Bai Yuchan’s poems for paintings and creation of calligraphy and painting along with Zhao Mengjian’s poetry, painting and calligraphy, were inclined to chase after a noble and elegant character, representing the highest level of the calligraphic and painting creation in the late Southern Song Dynasty.更多还原