从中国古代的诗画理论看图文内在张力.PDF

第 卷第 期 装 学 报 6 3 Vol.6 No.3 年 月 2014 7 Packaging Journal July 20 14 doi:10.3969/j .issn .1674 7100.2014.03.0 13 - 中国古代的诗画理论看图文内在张力 杨向荣 巩 辉 （湘潭大学 艺术学院，湖南 湘潭 411105 ） 摘 要：中国古代关于诗画关系的相关命题主要有二：诗画同源与诗画一律。至明清时期，前者演变为 “以书入画”，后者则演变成“题诗入画”。诗与画是两门不同的艺术，各有其内在张力，诗与画，或者说文 学与图像的相互言说，建构了二者互文表达的共同情境，也由此形成了图文关系的张力表达。以诗画关系 为切入点，对当下图文关系展开学理渊源层面的考察，将有助于理解当下图文战争的学理立场和图文的互 文建构逻辑。 关键词：中国古代；诗画理论；图文关系；张力 中图分类号： 文献标志码： 文章编号： J205 A 1674 7100(2014)03 0066 05 - - - Research on the Internal Tension of Image-Text from the Ancient Chinese Theory of Poetry and Painting ， Yang Xiangrong Gong Hui （ ， ， ） College of Art, Xiangtan University Xiangtan Hunan 411 105 China ： Abstract In ancient China, there are two main relevant propositions about the relationship of poetry and painting. One is about the homology of poetry and painting, the other is the uniformity of poetry and painting. In Ming and Qing “ ” “ ” dynasties, the former evolved into calligraphy of painting and the latter evolved into writing poem in painting . Poetry and painting are two different kinds of art and each of them has its own internal tension. Poetry and painting, or the interaction of literature and image, build the common scenario of i