诗书画“三绝”的新古典范式——赵孟頫文艺思想的三种面相

文艺理论研究 ›› 2017, Vol. 37 ›› Issue (3): 44-52.

• 古代文论与古代文学的理论研究 • 上一篇下一篇

诗书画“三绝”的新古典范式——赵孟頫文艺思想的三种面相

张毅

南开大学中文系

出版日期:2017-05-25 发布日期:2018-01-24
作者简介:张毅，南开大学中文系教授，博士生导师，主要从事中国文学思想史和文艺批评史研究。
基金资助:
本文系国家社科基金重点项目“明清诗学与书画艺术会通研究”[项目编号：16AZW010]的前期研究成果。

The Perfect Trinity of Poetry, Calligraphy and Painting as a Neo-Classicist Paradigm in Zhao Mengfu: the Three Aspects of Zhao Meng-Fu's Thought on Literature and Art

Zhang Yi

the Chinese Department, Nankai University (Tianjin 300071, China)

Online:2017-05-25 Published:2018-01-24
About author:Zhang Yi, Ph.D., is a professor at the Chinese Department, Nankai University (Tianjin 300071, China). His research interests are the history of Chinese literary thought and art criticism.

摘要/Abstract

摘要： 在将元初南北的文艺复古思潮整合为新古典主义的历史进程中，文艺全才赵孟頫起到了重要的核心作用，他因各种机缘往来于江南与大都，与南北的诗文作家和书画家交流思想、切磋技艺，成为元代诗书画“三绝”的典型。他提出的“古意”说，对“唐法晋韵”的理解，及其具专业水准而形神兼备的“高尚士夫画”，蕴含着崇尚经典、回归自然和守正出新的文艺思想，为元代诗书画三位一体的文艺创作指明发展方向。如果说“古意”说是重人格的儒家传统精神与法度论的结合，为在通晓法度基础上自出新意的书画创作提供门径；那么对“唐法晋韵”的推崇则涵盖诗歌风雅和书画艺术，充分体现了将文化素养、笔墨技巧与境生象外的美感融为一体的文艺思想。

关键词: 赵孟頫, “三绝”, 新古典, 面相

Abstract: In the formation of the neoclassicism integrating the Yuan's and Southern and Northern Dynasties' retro ethos, Zhao Mengfu, known for his literary and artistic talents, played a pivotal role because of his opportunities to travel between South China and Dadu, the then capital, and to mix with his contemporary literati and artists, thus becoming an archetype of an artist featuring the trinity of poetry, calligraphy and painting. His "conception of antiquity", his understanding of the "Tang approach and Jin rhyme" and his high-brow, superbly skilled painting contains his valuation of classicality, naturalness, tradition, and innovativeness, informing the trend of the trinity of poetry, calligraphy and painting in the Yuan Dynasty. If "conception of antiquity" represents an integration of traditional Confucian spirit and norms, which makes possible innovation, then his exaltation of the "Tang approach and Jin thyme", which regards poetic refined taste and artistic discrimination, points to the literary concept that blends culture, techniques and aesthetic experience.

Key words: Zhao Mengfu, trinity of poetry, calligraphy and painting, neo-classicism, aspects

张毅. 诗书画“三绝”的新古典范式——赵孟頫文艺思想的三种面相[J]. 文艺理论研究, 2017, 37(3): 44-52.

Zhang Yi. The Perfect Trinity of Poetry, Calligraphy and Painting as a Neo-Classicist Paradigm in Zhao Mengfu: the Three Aspects of Zhao Meng-Fu's Thought on Literature and Art [J]. Theoretical Studies in Literature and Art, 2017, 37(3): 44-52.

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(1)新古典主义(Neoclassicism),原指欧洲十七世纪兴起于法国的文艺流派,以古希腊和罗马艺术为典范,用新的技法从题材和风格方面模仿古代艺术。本文借用这一概念,指元代兴起的以赵孟頫为代表的文艺“复古”思潮流派,他们追求在诗书画“三绝”创作活动中彰显“古意”,以崇尚经典、回归自然和守正出新为要义。
(2)宋高宗赵构对赵孟頫书学思想的影响,可参阅周峰:“赵孟頫于中国书法史的意义”,《中国书画》12(2007):11-12。
(3)关于“赵孟頫的书风承继”,可参阅王连起:“赵孟頫及其书法艺术简论”,《故宫博物院院刊》5(1994):44-47。
(4)《辋川图》与《鹊华秋色图》的异同和比较,可参阅李铸晋《鹊华秋色---赵孟頫的生平与画艺》(北京:三联书店,2008年),第148-50页。

诗书画“三绝”的新古典范式——赵孟頫文艺思想的三种面相

The Perfect Trinity of Poetry, Calligraphy and Painting as a Neo-Classicist Paradigm in Zhao Mengfu: the Three Aspects of Zhao Meng-Fu's Thought on Literature and Art

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