从"文"、"象"的空间性看中国古代的"诗画交融"

诗与画的关系在中西美学史上都是一个倍受注目的问题 ,但对于这一问题的认识中西传统却表现出巨大的差异。在西方 ,不断有人对诗与画的界限进行区分 ;在中国 ,“诗画交融”却一直是衡量诗歌艺术的一个重要的审美标准。造成这种现象的根本原因在于中西思维方式的不同。中国古代时间意识的空间化是“诗画交融”的深层思维基础 ,“文与画”、“书与画”、“诗与画”之间以空间化、视觉化的“象”为核心的同源性关系 ,则为“诗画交融”提供了内在形式依据。通过对“文”、“象”的原始空间含义的考察 ,可以清楚地认识这一问题。

Viewing the Ancient Chinese "Merging of Poetry with Painting" from the Space of "Wording" and "Image"

The relationship between poetry and painting is one of concern in both Chinese and Western history of aesthetics.However,the views from Chinese and Western traditions are quite different.In the West,people have tried to differentiate the poetry from painting,while in China,"merging of poetry with painting" has long been a criterion of aesthetics in judging poetic art.The different ways of thinking can account for this.In ancient China,the spatialization of the idea of time was the base of deep thinking for merging of the two.Between wording and painting,calligraphy and painting,and poetry and painting,the cognate relationship of spatialized and visualized "image" functioning as the core,has provided the base for inner form for the merging.Observing the spatial meaning of wording and image can help make this clear.