發(fā)布時間：2018-04-13 22:39

  本文選題：氣韻 + 意境��； 參考：《中南民族大學》2009年碩士論文

【摘要】： “氣韻”與“意境”是我國古代文藝美學兩個既有聯(lián)系又有區(qū)別的范疇,遺憾的是鮮見人們探討二者的關系,古代批評家撰寫的區(qū)分藝術形態(tài)的著作,如詩品、畫品等,往往是對氣韻與意境的一體化描述,現(xiàn)代批評界也多停留于一種含混的區(qū)分,因此,探究二者的關系有著十分重要的意義。 本文著重從二者的共通性著眼進行探索,嘗試揭示先哲所以能成功地進行一體化描述的緣由。 首先,從深層來由看,二者均顯“道”。道在中國哲學中具有本體地位,也是我國傳統(tǒng)的人文文化諸領域立論的根基。事實上,司空圖的《二十四詩品》描述的各品都與道相聯(lián)系,這是人們或?qū)⑺�看作是風格論,或看作是意境論的基本原因之一。盡管如此,今天我們在理論上仍應有所區(qū)分:氣韻是在陰與陽的張力中表現(xiàn)道,一陰一陽構(gòu)成道的律動狀態(tài),由此而形成氣韻;意境是在虛與實的統(tǒng)一中表現(xiàn)道,道亦有亦無,非有非無,意境是一種象外之象,是有與無的統(tǒng)一。 其次,從藝術表現(xiàn)角度看,二者都可謂是傳“神”。神的觀念源遠流長,我們的先人由敬畏外在的神祗發(fā)展為崇尚內(nèi)在的精神,所謂傳神即是在形貌中顯現(xiàn)精神或神明。在以山水為題材的詩畫中,傳神既是意境的創(chuàng)造,又是氣韻的呈現(xiàn)。不過二者仍有區(qū)別,如果將藝術品作為一個藝術符號,氣韻生成于能指層面,它在藝術家操作符號過程中呈現(xiàn);意境則生成于符號的所指層面,展現(xiàn)了藝術家所想象的生活世界。 第三,從藝術的鑒賞角度看,領略二者都需要品“味”。古人講求“味外之旨”、“韻外之致”,既包括藝術品的內(nèi)容,也包括藝術品的形式,特別指稱其中超越邏輯語言所不能確切描述的詩意部分。二者的區(qū)別在于:作品氣韻的品味是對藝術形式的玩味,一般來說尤為藝術家們所重視,而作品詩意境界的品味則是對作品內(nèi)容的賞會,為普通欣賞者所熱衷,由此而進入與人生意蘊相關的思考和領悟。
[Abstract]:"Qiyun" and "artistic conception" are two categories of ancient Chinese literature and art aesthetics, which are both related and different. Unfortunately, it is rare to see people discuss the relationship between them, and ancient critics have written works that distinguish artistic forms, such as poems, paintings, etc.It is often an integrated description of charm and artistic conception, and the modern critical circle also stays in a vague distinction. Therefore, it is of great significance to explore the relationship between the two.This paper focuses on the common nature of the two to explore, trying to reveal the reason for the successful integrated description.First of all, from the deep reason, both show "Tao".Tao has the Noumenon position in Chinese philosophy, and it is also the foundation of Chinese traditional humanities and culture.As a matter of fact, all the articles described in < 24 Poems > are related to Tao, which is one of the basic reasons why people regard it as stylistic theory or artistic conception theory.Nevertheless, today we should still have a distinction in theory: Qiyun is expressed in the tension of Yin and Yang, and one Yin and one Yang constitute the rhythmic state of Tao, thus forming a spirit of charm; the artistic conception is to express Tao in the unity of deficiency and reality, and there is no Tao either.The artistic conception is a kind of image outside the image, and it is the unity of being and nothing.Secondly, from the angle of artistic expression, both of them can be described as "gods".The concept of God has a long history, our ancestors developed from the awe of external gods to advocate the inner spirit, the so-called spirit is to show in the appearance of the spirit or God.In the poems and paintings with landscape as the subject matter, evangelism is not only the creation of artistic conception, but also the presentation of charm.However, there is still a difference between the two. If art is regarded as an artistic symbol, the charm is generated at the signifier level, which is presented in the process of the artist operating the symbol, and the artistic conception is generated at the signified level of the symbol.Shows the artist's imagination of the life of the world.Third, from the point of view of art appreciation, both of them need taste.The ancients' emphasis on "the purpose beyond taste" and "the reason beyond the rhyme" includes both the content and the form of the works of art, especially referring to the poetic parts which are beyond the description of the logical language.The difference between the two is that the taste of the charm of the work is a playful taste of the art form, which is generally especially valued by the artists, while the taste of the poetic realm of the work is the appreciation of the content of the work, which is enthusiastically enjoyed by the ordinary appreciators.Thus enter into the thinking and understanding related to the meaning of life.
【學位授予單位】：中南民族大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：I01

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本文編號：1746551