摘要
《阿尔卑斯山》是德国自然诗史上的里程碑 ,它所代表的绘画式诗风曾主导半个世纪 ,但在莱辛的《拉奥孔》之后 ,走向终结。中国传统诗画观与西方艺术在本质上既相通又同中有异 ,莱辛说驳不倒中国传统的审美理想“诗中有画”、“画中有诗”。中国诗人认识到了诗画的界限 ,并以自己特有的方式超越了其间的界限。
A milestone in the history of German poetry on Nature, Alps represented the style of painting-like poetry which had prevailed in Europe for half a century, but came to an end when Lessing's Laokoon appeared. The traditional Chinese view of poetry and painting and that of the West shared in some aspects but differed in others. Lessing's theory would not invalidate the Chinese aesthetic motif of 'poetry-in-painting'and'painting-in-poetry'. The Chinese poets recognized the boundary between poetry and painting but managed to overcome the barrier in their unique ways.
出处
《解放军外国语学院学报》
北大核心
2002年第2期107-111,共5页
Journal of PLA University of Foreign Languages
关键词
阿尔卑斯山
拉奥孔
中西诗画观
莱辛
Alps
Laokoon
Chinese and Western views of poetry and painting
Lessing
