暨南学报(哲学社会科学版)

作者：刘一

单位：安徽大学文学院。

关键词：“夺造化”,韩愈诗歌,绘画批评,诗画一律

基金：安徽省委教育工作委员会、安徽省教育厅高校中青年教师培养行动“优秀青年教师培育重点项目”(2023)。

北宋时期,韩孟诗派“夺造化”诗学理念的传播对画论产生了重要影响,催生出一种新的诗画同源观念。这一观念认为,绘画与诗歌一样,均具备重塑现实秩序、扭转自然、创造新世界的力量,进而以“昌黎公诗中有画”的判断丰富了传统“摩诘诗中有画”的诗画一律观的内涵。“昌黎公诗中有画” 对传统诗意画所追求的“清篇秀句”的雅致美感提出强有力的挑战,引入了奇险生新的崭新审美取向,给予欣赏者感官震撼而非感官愉悦,从而为诗意画的发展开辟了更为宽广的路径。"/>template{display:none;}.mag-rich-xref-fn { cursor: pointer;}//长视频$(document).ready(function(){if($("#showLongArticleVideo") && $("#showLongArticleVideo").length && $("#showLongArticleVideo").length>0){mag_ajax_update({ele_id:'showLongArticleVideo',url:mag_currentQikanUrl() + "/CN/article/showLongArticleVideo.do?id="+$("#articleId").val()});}});$(document).ready(function(){window.metaData = {"journal":{"issn":"1000-5072","qiKanMingCheng_CN":"暨南学报（哲学社会科学版）","id":2,"qiKanMingCheng_EN":"Jinan Journal"},"fundList_cn":["安徽省委教育工作委员会、安徽省教育厅高校中青年教师培养行动“优秀青年教师培育重点项目”(2023)。"],"article":{"keywordList_cn":["“夺造化”","韩愈诗歌","绘画批评","诗画一律"],"juan":"47","zhaiyao_cn":"北宋时期,韩孟诗派“夺造化”诗学理念的传播对画论产生了重要影响,催生出一种新的诗画同源观念。这一观念认为,绘画与诗歌一样,均具备重塑现实秩序、扭转自然、创造新世界的力量,进而以“昌黎公诗中有画”的判断丰富了传统“摩诘诗中有画”的诗画一律观的内涵。“昌黎公诗中有画” 对传统诗意画所追求的“清篇秀句”的雅致美感提出强有力的挑战,引入了奇险生新的崭新审美取向,给予欣赏者感官震撼而非感官愉悦,从而为诗意画的发展开辟了更为宽广的路径。","endNoteUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=EndNote&id=7238","reference":"","bibtexUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=BibTeX&id=7238","abstractUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/10.11778/j.jnxb.20240465","qi":"7","id":7238,"nian":2025,"bianHao":"1757058994580-1884622174","zuoZheEn_L":"LIU Yi","juanUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/Y2025","shouCiFaBuRiQi":"2025-09-05","qiShiYe":"29","qiUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/Y2025/V47/I7","lanMu_cn":"中国文学原理及其特质","pdfSize":"1465","zuoZhe_CN":"刘一","risUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=Ris&id=7238","title_cn":"“诗画一律”的内涵重构与审美转型","doi":"10.11778/j.jnxb.20240465","jieShuYe":"41","keywordList_en":["“usurping Creation”","Han Yu's Poetry","painting criticism","unified view of poetry and painting"],"endNoteUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=EndNote&id=7238","zhaiyao_en":"This paper explores the new development of the “unified view of poetry and painting” concept in the Song Dynasty. Its core issue is how the poetic philosophy of “usurping Creation” (夺造化) from the mid-Tang Han-Meng School was received by Song literati and penetrated the realm of painting, thereby reshaping the traditional relationship between poetry and painting. The significance lies in its uncovering of the profound intellectual-historical dynamics driving the evolution of art theory in the Song Dynasty, complementing previous scholarly perspectives that have focused on the evolution of painting techniques.This paper primarily employs cross-genre and interdisciplinary methods of textual analysis and intellectual-historical inquiry. By tracing the evolving trajectory of the key term “usurping Creation” through Tang and Song poetry, “notebook fiction” (such as the transformation of the Han Xiangzi story in Youyang zazu (酉阳杂俎) and Qingsuo gaoyi (青琐高议), official treatises on painting (like Xuanhe huapu (宣和画谱) and Huaji (画继) and poems inscribed on paintings, this paper reconstructs the specific paths and conditions under which a poetic idea was transformed into a concept within painting theory. The research process unfolds in three progressive stages. First, this paper examines the process by which the “usurping Creation” concept evolved from a sporadic poetic expression in the Tang Dynasty into a core criterion of painting theory in the Song Dynasty. Second, it links the cause of this phenomenon to the cultural trend of “Revering Han Yu” in the Northern Song, arguing that it was the admiration for the spirit of Han Yu's poetry that reactivated and disseminated the “usurping Creation” idea, while Ouyang Xiu's discourse theoretically established the connection of poetry and painting in “vying with Creation in ingenuity” (与造化争巧). Finally, through an analysis of painting practices such as Gaoxuan Guotu (高轩过图) and Shiding Lianju Tu (石鼎联句图), it specifically elucidates how this new concept guided painters in tackling the bizarre and unconventional poetry traditionally considered “unpaintable”.This paper reaches the following conclusions and main arguments. First, the rise of the “usurping Creation” concept in the field of Song Dynasty painting was fundamentally driven by the revival and dissemination of the mid-Tang poetic philosophy of the same name. Second, the introduction of this concept elevated the theoretical foundation of the “unified view of poetry and painting” from the traditional “learning from Creation” (师造化), based on representational ability, to “usurping Creation”, based on creative power. Third, this led to the emergence of a new paradigm-“There is painting in Changli Gong's poems” (“昌黎公诗中有画”)-which stands in stark contrast to the model of “There is painting in Mojie's poems” (“摩诘诗中有画”). It sought to create sensory shock in the viewer through a bizarre and innovative style, rather than the elegant pleasure pursued by traditional poetic painting. Fourth, to achieve this aesthetic goal, Song Dynasty painters of poetic themes made significant technical innovations, such as emphasizing expression over representation and employing continuous narrative techniques akin to a handscroll.The innovation of this paper lies in its explicit formulation of two coexisting models within the Song Dynasty's “unified view of poetry and painting”: the “Mojie model” based on “learning from Creation” and the “Changli Gong model” based on “usurping Creation”. By placing the evolution of painting theory within the larger context of poetics and intellectual history, this paper deepens the understanding of the relationship between poetry and painting in the Song Dynasty and provides a new interpretive dimension for the evolution of the core motif of the “relationship between heaven and humanity” in Chinese art.","bibtexUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=BibTeX&id=7238","abstractUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/10.11778/j.jnxb.20240465","zuoZheCn_L":"刘一","juanUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/Y2025","lanMu_en":"","qiUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/Y2025/V47/I7","zuoZhe_EN":"LIU Yi","risUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=Ris&id=7238","title_en":"The Reconstruction of Meaning and Aesthetic Transformation of the Unified View of Poetry and Painting","hasPdf":"true"},"authorNotes_cn":["刘一,安徽大学文学院。"]};if(window.metaData && (!window.metaData.authorNotesCommon_cn && !window.metaData.authorNotesCorresp_cn && window.metaData.authorNotes_cn)){window.metaData.authorNotesCommon_cn = window.metaData.authorNotes_cn;}if(window.metaData && (!window.metaData.authorNotesCommon_en && !window.metaData.authorNotesCorresp_en && window.metaData.authorNotes_en)){window.metaData.authorNotesCommon_en = window.metaData.authorNotes_en;}var _nlmdtdXml = $("#article_nlmdtdXml").val();var magDir = _nlmdtdXml.replace(/\/[^\/]+$/,'');window.metaData.magDir = magDir;new mag_vue({ el: '#metaVue', //dataUrl: mag_currentQikanUrl() + '/EN/article/getRichHtmlJson.do?articleId='+$("#articleId").val(), data:window.metaData, loading:true, doTextFun:function(text){ return doDataJsonText(text); }, doAfterFun:function(selector,jsonData){doMagVueAfter(selector,jsonData);}});var pars = {attachType:'PDF',id:$("#articleId").val(),json:true};jQuery.post($("#mag-common-contextPath").val()+"/CN/article/showArticleFile.do?" + new Date().getTime(), pars, function(data){var json=null;if(data.match(/^\[json\].*/g)){json=eval("("+data.replace(/^\[json\]/g,"")+")");}if(json && json.status == 1){//有权限}else{//无权限$("#no-access-div").show();}});mag_ajax({url:mag_currentQikanUrl() + '/CN/article/getRichHtmlJson.do',data:{articleId:$("#articleId").val(),token:'8d3b399e351846068bb0c1b21110f975',referer:document.referrer},dataType:"json",async:"false",success:function(json){if(json.richHtmlJson && json.richHtmlJson.article){if(json.trans){var _nlmdtdXmlCN = $("#article_nlmdtdXmlCN").val();var magDirCN = _nlmdtdXmlCN.replace(/\/[^\/]+$/,'');json.richHtmlJson.magDir=magDirCN;}else{json.richHtmlJson.magDir=magDir;}new mag_vue({ el: '#bodyVue', data:json.richHtmlJson, doTextFun:function(text){ return doDataJsonText(text); }, doAfterFun:function(selector,jsonData){doMagVueAfter(selector,jsonData);}});}}});//altmetricif($.trim($("#article_doi").val())!=''){$.ajax({url:'https://api.altmetric.com/v1/doi/'+$.trim($("#article_doi").val())+'?callback=altmetric_callback',//url:'https://api.altmetric.com/v1/doi/10.1007/s13238-016-0264-7?callback=altmetric_callback',dataType:'jsonp'});}mag_rich_menu(jQuery);$(function(){ $('#autoMenu').autoMenu();})$("#autoMenu").niceScroll({cursorcolor: "#ccc", //滚动条的颜色cursoropacitymax: 0, //滚动条的透明度，从0-1 touchbehavior: false, //使光标拖动滚动像在台式电脑触摸设备 true滚动条拖动不可用 cursorwidth: "6px", //滚动条的宽度 单位默认px cursorborder: "0", // 游标边框css定义 cursorborderradius: "3px", //滚动条两头的圆角 autohidemode: true, //是否隐藏滚动条 true的时候默认不显示滚动条，当鼠标经过的时候显示滚动条 zindex: "auto", //给滚动条设置z-index值 railvalign:'defaul',railpadding: {top: 0,right: -6,left: 0,bottom: 0}, //滚动条的位置});window.autoMenuFlag=true;$("#relatedArticles").niceScroll({cursorcolor: "#ccc", //滚动条的颜色cursoropacitymax: 0, //滚动条的透明度，从0-1 touchbehavior: false, //使光标拖动滚动像在台式电脑触摸设备 true滚动条拖动不可用 cursorwidth: "6px", //滚动条的宽度 单位默认px cursorborder: "0", // 游标边框css定义 cursorborderradius: "3px", //滚动条两头的圆角 autohidemode: true, //是否隐藏滚动条 true的时候默认不显示滚动条，当鼠标经过的时候显示滚动条 zindex: "auto", //给滚动条设置z-index值 railvalign:'defaul',railpadding: {top: 0,right: -6,left: 0,bottom: 0}, //滚动条的位置});//公式序号 居右jQuery(".mag-xml-disp-formula").each(function() {var _this = jQuery(this);var _label= _this.children("label");if(typeof(_label.html())!="undefined"){_this.children("label").remove();_this.wrap("");_this.parent().parent().append(""+_label.html()+"");}});$('body').click(function(){$('.daochu_div').hide();$('.qipao').hide();})$('.qipao').click(function(event){event.stopPropagation();})/*参考文献显示隐藏*/$('.biaotijiantoush1').click(function(event){if($(this).attr('class')=='glyphicon glyphicon-triangle-top biaotijiantoush biaotijiantoush1'){$(this).parents('.mag_main_zhengwen_left_div_ckwx_table_benwenyiny').next('.mag_main_zhengwen_left_div_ckwx_table_ckwx_xiangqing').stop().slideUp();$(this).attr('class','glyphicon glyphicon-triangle-bottom biaotijiantoush biaotijiantoush1');}else if($(this).attr('class')=='glyphicon glyphicon-triangle-bottom biaotijiantoush biaotijiantoush1'){$(this).parents('.mag_main_zhengwen_left_div_ckwx_table_benwenyiny').next('.mag_main_zhengwen_left_div_ckwx_table_ckwx_xiangqing').stop().slideDown();$(this).attr('class','glyphicon glyphicon-triangle-top biaotijiantoush biaotijiantoush1');}event.stopPropagation();});//加载补充材料mag_ajax_update({ele_id:'showArticle_suppls',url:mag_currentQikanUrl() + '/CN/article/showArticleSuppls.do',data:{articleId:$("#articleId").val()}});//加载专题mag_ajax_update({ele_id:'showArticle_subjects',url:mag_currentQikanUrl() + '/CN/subject/showSubjectListByArticle.do',data:{articleId:$("#articleId").val(),forwardJsp:'showArticle'}});//渲染公式mag_mathJax();});function altmetric_callback(json){if(json && json.score){if(json.score - parseInt(json.score) > 0){$("#altmetric-score").html(parseInt(json.score)+1);}else{$("#altmetric-score").html(parseInt(json.score));}$(".main_content_center_right_duoweidu_div").css("width","25%");$("#altmetric-a").show();$("#altmetric-a").attr("href",json.details_url);}}function richClickAuthor(name){var searchSQL = "((("+mag_advSearchValReplace(name)+"[Author]) AND 2J[Journal]) AND year[Order])";mag_request({url:mag_currentQikanUrl() + '/CN/searchresult',data:{searchSQL:searchSQL}});}function richClickKeyword(keyword){var searchSQL = "((("+mag_advSearchValReplace(keyword)+"[Keyword]) AND 2J[Journal]) AND year[Order])";mag_request({url:mag_currentQikanUrl() + '/CN/searchresult',data:{searchSQL:searchSQL}});}function mag_share(){$("#bShare_more_a").click();}function loadRelatedArticles(){if($("#showRelatedArticles") && $("#showRelatedArticles").length>0){//加载过了}else{mag_loading();mag_ajax_update({ele_id:'relatedArticles-content',url:mag_currentQikanUrl() + '/CN/article/relatedArticle.do',data:{id:$("#articleId").val(), forwardJsp:'showArticle'},complete:function(){mag_layer_close();}});}}function showMetrics(){mag_window_location(mag_currentQikanUrl() + '/CN/metrics/'+$("#articleId").val());}function piaofuFn(a,fnId){var content=''+$("#mag-rich-fn-"+fnId).html()+'';piaofu(a,content);}function huoqukuanduimg(){//}function doDataJsonText(text){var str = text;//var _nlmdtdXml = $("#article_nlmdtdXml").val();//var magDir = _nlmdtdXml.replace(/\/[^\/]+$/,'');str = str.replace(/";ss += "";var shuomingTitle = "";var shuomingContent = '';if(fig.titleCn && fig.titleCn!=''){shuomingTitle = fig.titleCn;if(fig.titleContentCn && fig.titleContentCn!=''){shuomingContent += fig.titleContentCn;}}if(shuomingTitle==''){if(fig.titleEn && fig.titleEn!=''){shuomingTitle = fig.titleEn;}if(fig.titleContentEn && fig.titleContentEn!=''){shuomingContent += fig.titleContentEn;}}else{if(fig.titleEn && fig.titleEn!=''){shuomingContent += ""+fig.titleEn+"

来源：2025年第7期

《暨南学报(哲学社会科学版)》期刊编辑部

查看暨南学报(哲学社会科学版)杂志2025年第7期