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因“气”的介入,中晚明文艺发展形势,从正统《诗》教趋向面对世俗教化之用的歌教。相对《诗》教而言,歌教集声、韵、调一体,通俗流畅,在演绎环节中感染力极强。严格来讲,该时段歌教的盛行,有当时代理学家、文艺人士关于“以气论道”“以气论文”“以气论乐”等理念的全面发挥,更有王阳明《九声四气歌法》为其谱写演绎之章法,又有罗汝芳、陈履祥等人后继传承。概言之,中晚明《诗》教向歌教的偏移,揭明两则事实:其一,传统诗学配合通俗文艺的发展,已呈现走下圣坛、趋向民间之形势;其二,“气”论思想侵浸诗乐之教自古有之,然中晚明阶段,新歌法、新歌教的诞生、兴盛,确为当时文化领域开拓一番新景象。
Due to the involvement of “Qi” and the development of literature and art in the middle and late Ming dynasty, from the orthodox “poem” teaching to the song and religion in the face of secular enlightenment. Relative to the “poem” teaching, the song and song set sound, rhyme, tune one, popular and smooth, strong appeal in the interpretation of the link. Strictly speaking, during this period, the prevalence of song and song was fully demonstrated by such notions as the “theory of qi” and “theory of qi” by the agents and writers of literature and art There Wang Yangming “Nine Sounds of the Four Songs” for the compilation of its interpretation of Chapter Law, and Luo Rufang, Chen Luxiang and others successor. In short, the shift of the “poem” teaching in the late Ming and early Ming Dynasties to song and song revealed two facts: First, the development of traditional poetics in line with popular literature and art has shown the situation of going down the altar and turning to the folk. In the late Ming and early Ming dynasties, the birth and flourishing of the new song and new song and religion really opened up some new scenes for the cultural field at that time.