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明清两代戏曲批评家多次使用了“境界”和“意境”这两个术语,使用时指称的意义比较宽泛,含义比较模糊,不如唐宋诗词批评明确。近代王国维先生对境界和意境曾作过重要的论述,王氏的“境界说”是一大理论贡献,但是对意境的阐述语焉不详,在理论上有缺陷,常使后人的认识陷入误区。在中国美学理论中,有关艺术意境的发现和阐述是对世界文化艺术理论的重大贡献。宗白华先生曾对意境的意义和结构作了探本穷源的研究,提出了“灵境”的概念,即是以“心”而造的“艺术境界”。本文的研究,重在历史的和理论的探源,对中国美学中的“境界”和“意境”作了系统的阐述,特别是对于艺术意境形成的必须条件“意象”及其“虚境”的美学意义和作用,作了美学理论和艺术实际结合的论述。
The two generations of drama critics in the Ming and Qing dynasties repeatedly used the two terms “state” and “mood”, which are more general in meaning and more vague in their meaning than the criticism of Tang and Song poetry. In modern times, Mr.Wang Guowei made an important exposition on the realm and artistic conception. Wang’s “theory of state” is a great theoretical contribution, but the explanation of the artistic conception is not detailed, and there are theoretical defects that often make the cognition of later generations fall into Misunderstanding. In the theory of Chinese aesthetics, the discovery and elaboration of artistic conception is a significant contribution to the theory of world culture and art. Zong Baihua once made a research on the meaning and structure of the artistic conception, and put forward the concept of “spiritual environment”, that is, “artistic realm” made of “heart ”. The research of this paper focuses on the sources of history and theory, systematically elaborates “state ” and “mood ” in Chinese aesthetics, especially for the necessary condition “image And its ”virtual environment " aesthetic significance and role, made the aesthetic theory and the art of the actual combination of exposition.