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国内目前对程抱一先生的研究大多集中在文学领域,往往忽视了程抱一先生在中国绘画理论方面也做出巨大的成就。他是第一个用西方结构主义和符号学来解读中国绘画的研究者,也是法国第一位自觉地将中国绘画美学运用在文学创作中的杰出作家。因此,本文拟从程抱一的艺术论著和文学创作两个角度来研究其对中国绘画的贡献。在绘画理论上,程抱一先生基于“虚”之上建构了中国画论的五个层面。在文学创作中,中国美学思想和绘画技巧又深刻地影响了作者的文字。从本质上讲,程抱一先生本人也如王维、苏轼,是一位集诗人与画家为一身的中国传统文人,体现了中国文化的博大精深,并以此成为了“中法文化的摆渡人”。
At present, most of the studies on Cheng Baoyi in China focus on the field of literature, often neglecting Mr. Cheng Baoyi’s tremendous achievements in the field of Chinese painting theory. He was the first to interpret Chinese painting with Western structuralism and semiotics and the first French writer to consciously apply Chinese painting aesthetics to literary creation. Therefore, this article intends to study its contribution to Chinese painting from Cheng Baoyi’s art treatise and literature creation. In the theory of painting, Cheng Baoyi based on “virtual ” built on the five aspects of Chinese painting theory. In literary creation, Chinese aesthetics and drawing skills have profoundly influenced the author’s writing. In essence, Mr. Cheng Baoyi himself, like Wang Wei and Su Shi, is a traditional Chinese literati who possesses both poets and painters. It reflects the profound and profound Chinese culture and has thus become the “ferry of Sino-French culture.” people".