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    Please use this identifier to cite or link to this item: https://tkuir.lib.tku.edu.tw/dspace/handle/987654321/77428

    Title: 蘇軾詩畫通論之藝術精神研究
    Other Titles: The study of confluent art spirit in Su Shi's theory of poetry and painting
    Authors: 李百容;Lee, Bai-Rung
    Contributors: 淡江大學中國文學系博士班
    Keywords: 蘇軾;有道有藝;以一含萬;詩畫本一律;藝術精神;東坡易傳;Su Shi;Art Spirit;Dao and Art;Aesthetic Standards;the Fusion of Poetry and Painting;Essay on literati Paintings
    Date: 2012
    Issue Date: 2012-06-21 06:42:48 (UTC+8)
    Abstract: 這部論文主要在透過先秦以來「道」、「藝」關係的開展,作為觀察蘇軾「有道有藝」、「以一含萬」、「詩畫本一律」之藝術精神的詮釋理路,以抽離近代運用「詩畫界限」觀點,所可能產生與歷史語境偏離之本義的混淆。論文在結構上,以「緒論」為「本論」、「分論」之前導,「本論」則為論述主軸及核心所在,而「分論」則在深化及證成「本論」所立之核心藝術精神--蘇軾「有道有藝」、「道藝兩進」的思維,所呈現於「詩畫通論」之創作論、鑑賞論、以及「道」與「藝」之即體即用實踐的可能。經過「本論」、「分論」各三章的析論探討,確立開出以《東坡易傳》「本一」、「道一」之論「道」的「通學」本質,進而回歸蘇軾「以一含萬」、「詩畫本一律」之藝術精神本質,重返宋人「道」、「藝」辯證之時空背景,凸顯蘇軾於「道本藝末」之道學藝術觀的論述中,所開顯之特出「道」「藝」體用不二的「詩畫通論」。而「詩畫本一律,天工與清新」,在由論「道」而論「藝」--此一詮釋理路的梳理下,開展出有別於由藝術媒介「互位」、「換位」探討之新解,可作為當代理解蘇軾「詩畫本一律」提出之文化底藴,並期能開啟當代與蘇軾「詩畫通論」的對話。
    This thesis mainly deals with the confluent art spirit in Su Shi’s theory of poetry and painting. Such confluent art spirit combines and fuses Chinese Confucianism, Daoism, and Buddhism to form the unique relationship between Dao and Art; therefore, there is a significant distinction in the cultural ideology of western poetry, painting along with mixture of poetry and painting.
    Appears in Collections:[Graduate Institute & Department of Chinese] Thesis

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