中文摘要：

在将元初南北的文艺复古思潮整合为新古典主义的历史进程中，文艺全才赵孟顺起到了核心作用。他因各种机缘往来于江南与大都，与南北的诗文作家和书画家交流思想、切磋技艺，成为元代诗书画“三绝”的典型。他提出的“古意”说，对“唐法晋韵”的理解，及其具专业水准而形神兼备的“高尚士夫画”，蕴含着崇尚经典、回归自然和守正出新的文艺思想，为元代诗书画三位一体的文艺创作指明发展方向。如果说“古意”说是重人格的儒家传统精神与法度论的结合，为在通晓法度基础上自出新意的书画创作提供门径；那么对“唐法晋韵”的推崇则涵盖诗歌风雅和书画艺术，充分体现了将文化素养、笔墨技巧与境生象外的关感融为一体的文艺思想。

英文摘要：

In the formation of the neoclassicism integrating the Yuan＇s and Southern and Northern Dynasties＇ retro ethos, Zhao Mengfu, known for his literary and artistic talents, played a pivotal role because of his opportunities to travel between South China and Dadu, the then capital, and to mix with his contemporary literati and artists, thus becoming an archetype of an artist featuring the trinity of poetry, calligraphy and painting. His ＂conception of antiquity＂, his understanding of the ＂Tang approach and Jin rhyme＂ and his high-brow, superbly skilled painting contains his valuation of classicality, naturalness, tradition, and innovativeness, informing the trend of the trinity of poetry, calligraphy and painting in the Yuan Dynasty. If ＂ conception of antiquity＂ represents an integration of traditional Confucian spirit and norms, which makes possible innovation, then his exaltation of the ＂Tang approach and Jin thyme＂, which regards poetic refined taste and artistic discrimination, points to the literary concept that blends culture, techniques and aesthetic experience.