摘要
诗画相分是西方文艺学史上自古希腊以来占主导的传统,其中不少观点在今天看来,存在着明显的历史局限性。一些中国学者对西方诗画相分的理论缺乏充分的辨析,往往囿于字面的相似,将其与中国诗画一律的理论混为一谈。西方诗画相分论中最有影响的是莱辛的诗画异质说和诗优画劣论,但若从学理出发,莱辛的诗画观可商榷之处甚多。诗画不同却平等的两个艺术门类,不存在高下优劣之分。我们在分析诗画关系,尤其是分析与西方迥然不同的中国传统诗画关系时,不应唯莱辛诗画理论的马首是瞻。
The distinction between poetry and painting has been a prevailing convention in the history of Western literature and art from the days of ancient Greece.From today's point of view,however,many of the ideas on this subject show obvious historical limitations.Lacking discrimination with regard to these Western theories,some Chinese scholars,misled by literal similarities,have run them together with Chinese theories about the communion of poetry and painting.In the Western distinction between poetry and painting,the most influential theory has been that of Lessing,who held that poetry is different from and superior to painting.However,this is arguable in academic terms.Poetry and painting are two different but equal categories of art;neither is superior to the other.We should not indiscriminately follow Lessing's theory in analyzing the relations between poetry and painting,especially in China where the relationship between the two is entirely different from that in the West.
出处
《中国社会科学》
CSSCI
北大核心
2008年第6期160-172,共13页
Social Sciences in China
