苏轼晚年追和陶渊明，创作了一百余首和陶诗。和陶诗不仅包含了苏轼对陶渊明其人其诗的接受与认同，凝聚了苏轼贬谪时期丰富的人生思考与思想体悟，还是苏轼晚年诗歌艺术成熟圆融的代表。本文以苏轼的和陶诗为主要研究对象，从美学的角度，揭示和陶诗的思想内涵与美学意蕴，探讨苏轼在接受陶渊明的同时，如何发展出自成一派的艺术特色，进而考察苏轼与陶渊明在审美理想上的相通与变革，发掘苏轼“和陶”的美学意义与文化意义。首先，本文探讨苏轼如何通过对陶渊明的接受品评将其塑造为审美典范，结合苏轼晚年的人生矛盾与贬谪心态，总结苏轼追和陶渊明的美学动机。苏轼之所以推崇陶渊明，一是因为其人格能够超越世俗、仕隐、生死，与自然和谐相处，展现出不为物役、任真自得的人生态度;二是因为其诗歌“质而实绮，癯而实腴”，以平淡自然的形式表达出淳厚深远的人生感悟。苏轼在现实人生实践中，由于党争、人情等因素产生深刻的内在矛盾，和陶诗便是在陶渊明审美典范指引下寻求自适之道、回归生命本真的艺术实践。其次，本文从仕隐、生死、饮酒、精神家园四个方面挖掘苏轼和陶诗的思想内容，以陶渊明其人其诗为参照，梳理苏轼晚年的复杂心境，探讨苏轼如何在陶渊明理想人格影响下，调和出处、生死、物我之间的矛盾，完成对自我的内在超越与艺术塑造，表达参悟生命的人生智慧，构建旷达自适的人生哲学。最后，本文总结苏轼在儒道佛思想的影响下所形成的不同于陶渊明的人格型态与艺术面貌，挖掘苏轼和陶诗中展现出的人格美与诗歌风格美。苏轼在人生失意时依然保有忠君爱民的热情，同时加上对佛道思想的吸收，形成真诚旷达的文化人格。在艺术表现上，苏轼的和陶诗充满闲适、与物俱化的审美情趣，达到心物和谐的平淡美，代表了其晚年返璞归真的艺术境界。对整个美学史而言，由苏轼开启的 “和陶”风潮，对确立陶渊明的经典化形象、促进北宋诗风向平淡美转变具有重要的意义。
Su Shi chased Tao Yuanming in his later years and composed more than one hundred “He-Tao-Shi”(和陶诗，Poems responding to Tao Yuanming’s Works) . “He-Tao-Shi” not only contains Su Shi's acceptance and recognition of Tao Yuanming , but also embodies Su Shi's rich life thinking and ideological experience during his relegation period，it is a representative of Su Shi's mature poetry art in his later years. This thesis takes Su Shi’s “He-Tao-Shi” as the main research object, from an aesthetic point of view, reveals the ideological and aesthetic connotations of “He-Tao-Shi”, and explores how Su Shi developed his own artistic characteristics while accepting Tao Yuanming, and then examines the similarity and transformation of Su Shi and Tao Yuanming's aesthetic ideals, so as to discover the aesthetic and cultural significance of Su Shi's “He-Tao-Shi”.This thesis first expounds how Su Shi shaped Tao Yuanming as an aesthetic model through his acceptance and evaluation, combined with Su Shi's life contradictions and relegation mentality in his later years, summarizes Su Shi's aesthetic motives for chasing Tao Yuanming. The reason why Su Shi admired Tao Yuanming is firstly because Tao’s personality can transcend secularity, officialdom, life and death, and live in harmony with nature, showing a life attitude of not being forced by things and being self-sufficient. The second reason is that Tao’s poems are "质而实绮,癯而实腴", expressing profound life insights in a plain and natural form. Due to the factors such as party conflict and human feelings, Su Shi had a profound internal contradiction in his real life practice, it is clear that Su Shi's “He-Tao-Shi” was an artistic practice of seeking a way of self-adjustment and returning to the true artistic practice of life under the guidance of Tao Yuanming's aesthetic model. This thesis then explores the ideological content of “He-Tao-Shi” from four aspects of officialdom, life and death, drinking and spiritual home, takes Tao Yuanming and his poems as reference to show Su Shi's complex state of mind in his later years. Explore how Su Shi balanced the contradictions under the influence of Tao Yuanming's ideal personality, completed the inner transcendence and artistic shaping of himself, how to express the life wisdom and construct a broad-minded adaptive philosophy of life.Finally, this thesis summarizes Su Shi's personality and artistic appearance that are different from Tao Yuanming's under the influence of Confucianism, Taoism and Buddhism, and explores the beauty of personality and poetry style displayed in “He-Tao-Shi”. Even during the relegation period, Su Shi still cared about the country and the people, together with his absorption of Buddhism and Taoism, he formed a sincere and broad-minded cultural personality. In terms of artistic expression, Su Shi's “He-Tao-Shi” contains a leisurely and harmonious aesthetic taste with objects. The poems show a Pingdan artistic style, which represents his return to the natural state of art in his later years. For the entire history of aesthetics, the trend of “He-Tao” initiated by Su Shi is of great significance not only for establishing Tao Yuanming's classical image, but also for promoting the transformation of the poetry style in the northern song dynasty to Pingdan style.
