【摘要】 作为中国古代最为优秀的作家与艺术家,苏轼对文艺创作中的种种实际问题多有切身体会,其文艺观点因此往往能切中要害,点出关键,深化前人的相关理论。在艺术观察论中,苏轼分别从实证性、超功利性和事物普遍性的角度作了全面阐释。苏轼所论及的"灵感",是建立在对外物"熟视"的基础上,由外物触发而生的偶然而短暂的强烈创作欲望与创作冲动。苏轼的"成竹在胸"说,则提出了构思过程中"心中视象"的三个特点:完整性、生命性与诗意性。苏轼还提出了"随物赋形"的艺术表现论,意在强调诗意传达时"行止天成"的自然笔致与重"活"重"变"的"活法"观念。在艺术风格方面,苏轼赋予"枯澹"以极高地位,并指出其内涵是"发纤秾于简古,寄至味于淡泊",从一种张力性的视角拓深了前人对冲淡诗风的认识。更多还原

【Abstract】 SU Shi,one of the most outstanding writers and artists in early modern China,has rich experience in creating literary and artistic works and hence always hits the mark where practical key problems lie.He is therefore able to enhance theories proposed by his forerunners.In artistic observation,for example,SU makes a comprehensive explanation of it from the perspectives of empiricalness,utilitarian transcendence and universality.He puts forward the"inspiration theory"by full observations of external objects:a kind of incidental but strong creative desire and passion triggered by them.His theory of"full command before creation"concerning"mind’s vision"in composition has three characteristics:completeness,vitality and poeticality.His artistic theory of"expression forms varying to particular objects"means to emphasize a kind of naturalness,where"flexibility"and"change"is extraordinarily embodied.In terms of artistic style,SU highly evaluates to the principle of"succinctness",advocating a tensional perspective that contributes a new interpretation to the terse poetic style his previous artists have held.更多还原