“无声诗”与“无形画”的现象直观

"无声诗"指的是画,而"无形画"说的却是诗,这种换位言说不仅是以诗意入画和以画法入诗的文艺现象之反映,也与于"无声"、"无形"处见精神的哲学思想和审美观照方式有一种本质的内在联系。如果说"听之以气"的"静观"决定了画家追求画中有诗而以山水画为正宗的审美取向,色即空的般若"空观"对诗中有画的山水诗的兴盛有决定性影响,那么"诗画本一律"的审美观念的形成,则建立在六根互用的通感和视听圆融的"通观"之上,涉及视觉与听觉的沟通、色法与心法的集合,以及虚实相生的审美原理。"静观"、"空观"和"通观",是中国诗画创作现象直观的三种审美方式。

The Phenomenal Viewing of "Soundless Poems" and "Shapeless Paintings"

The soundless poem refers to a painting,while the shapeless painting is actually a poem.This way of displacement is not only a reflection of the artistic phenomenon in which the meaning of a poem is contained in a painting and the art of drawing is contained in a poem,but also shows a hidden inner relationship between the aesthetic contemplation and the philosophical thinking with its spirit seen in the soundlessness and the shapelessness.If the silent viewing by listening to the shapeless with Qi determines the aesthetic orientation of the painter who tries to contain the meaning of a poem in his painting and takes landscape painting as the orthodox painting,and if the visionary viewing on the basis of the theory of prajna that the visibility of things is emptiness has made a decisive influence upon the prosperity of the landscape poems in which are contained paintings,then the formation of the aesthetic idea that poems and paintings were originally interlinked was based on the holistic perception with the six senses mutually used and also on the holistic viewing with a visual and auditory harmony.This aesthetic idea involves the connection between sight and hearing,the integration of matter and mind,and the aesthetic principle of the mutual generation of the realness and the unrealness.Silent viewing,visionary viewing and holistic viewing are three aesthetic ways of the phenomenal viewing in the creation of Chinese traditional poems and paintings.