中国古代乐、画理论的同构研究
发布时间：2018-09-04 14:27
【摘要】：中国传统的乐、画艺术是灿烂的中华艺术文化的组成部分,它们不仅展现了中华文化的独特魅力,同时还以其同构的关系彰显了异质艺术间的可交融性。 音乐与绘画,从艺术形式上来说,前者是诉诸于听觉的时间艺术,而后者则是诉诸于视觉的空间艺术；前者的物质材料是声音,而后者的物质材料则是线条和色彩。从其艺术表现特征和表现手段上来说,音乐与绘画具有很大的异质区别。虽然这种区别从表面看来很明显,但是深究起来,二者之间还是具有同构性的。与西方传统的乐、画艺术相比较而言,中国古代的乐、画艺术有着自身独特的形式特点,内含着独特的人文精神,所以研究古代乐、画艺术的同构性是有意义的。 本论题主要以古代的乐、画理论和艺术实例分析为依据,着重探寻古代乐、画艺术理论的同构性,从而承前探索以继前人未完之事业,使古代乐、画艺术的同构性这一问题获得专门化和系统性的研究。而要系统、全面地对古代乐、画艺术的同构性进行探究,除了要全方位重点探寻艺术理论的同构性之外,艺术作品本身的同构性探究亦是不可忽略的,因为理论不能空谈,它即是艺术实践的总结,又是艺术实践的指导,故其最终要回归于艺术本身。概括说来,在本文的研究中,笔者主要立足于古代的乐、画理论和艺术实例分析,着重研究古代乐、画艺术在艺术理论方面的同构性(其研究内容主要包括理论表述模式、审美观、创作观、艺术功能观等方面),扩展性地研究古代乐、画艺术作品本身的同构性(其研究内容主要包括审美形式、创作技法、创作风格、创作内容、艺术实践者等方面)。需要注意的是,乐、画艺术作品本身的同构性是以其艺术理论的同构性为基础的。因此,在本文的研究中,乐、画艺术理论的同构研究是重点,乐、画艺术作品本身的同构研究则是此重点上的延续和扩展。如此之研究架构,力求艺术理论研究和艺术作品本身研究的二者兼顾,且轻重有分,前后有序,从而使古代乐、画艺术的同构研究这一存在已久的问题形成一个较具逻辑性的系统研究。 儒、道思想在我国是极具影响力的两大思想流派,对我国古代艺术思想的影响很大,因此在本文的写作中,一方面,必须立足于儒、道两家的乐、画思想,来探讨古代乐、画理论的同构问题。另一方面,不能忽视儒、道思想中的自然观、社会历史观、认识论等对古代乐、画理论所产生的影响,因为就拿《老》、《庄》自己本身的乐、画思想来说,其艺术思想皆是与其自身的哲学观相联系的。 在本文的写作中,笔者主要以古代的乐、画理论为依据,对古代乐、画理论的同构思想发表了一些自己的见解： 第一,笔者立足于古代的乐、画理论,试图探索古代的乐、画思想在理论表述模式上的同构性。通过对古代文献资料的分析,笔者认为,古代的乐、画理论家在作理论表述时,其思维模式往往具有体味性、形象性、模糊性以及整体性的特点,而这些特点亦是受到传统哲学的理论表述模式的影响。所以,在具体的论述中,笔者以传统哲学的理论表述模式为引源,来详细论述传统乐、画思想的理论表述模式。 第二,笔者以儒家乐、画理论为切入点,来论述古代乐、画思想的同构性。该部分的研究分为两个部分：其一,乐、画艺术理论的同构研究。儒家思想的中心点是“礼”,故儒家论乐、画亦皆主要立足于“礼”这个中心点来进行理论阐述。概括说来,儒家乐、画思想的同构点可通过其功能观、审美观、实践思想这三个方面体现出来。具体说来,就艺术功能而言,儒家论者皆强调乐、画艺术应发挥教化作用,承担起“修身”的功用；就艺术实践而言,儒家论者皆强调乐、画艺术在实践中皆应以“礼”为本,而体现出“君君、臣臣、父父、子子”的伦理等级观念。就艺术审美而言,儒家论者皆强调乐、画艺术应体现出“中和”之美。其二,乐、画艺术创作实践的同构研究。该部分的研究以第一部分的研究为基础,论述在儒家乐、画同构思想的影响下,由于二者皆承担着重要的礼教功能,故而其在艺术实践者、创作内容、创作风格以及创作技法等方面皆产生了同构性。 第三,笔者以道家乐、画理论为切入点,来论述古代乐、画思想的同构性。该部分的研究亦分为两个部分：其一,乐、画艺术理论的同构研究。与儒家思想以“礼”为本所不同的是,道家思想站在儒家思想的对立面,对“礼”采取了批判性的态度,强调应人摆脱儒家“礼”的束缚,“法天贵真”,解放人性。基于此种思想,道家论者便强调作为人之精神产物的乐、画艺术亦应摆脱“礼”的束缚,而使其复归于人性所需。概括说来,就艺术功能而言,道家论者认为乐、画艺术皆应在“自娱”,而不在“教化”；就艺术创作而言,道家论者强调乐、画艺术创作皆应以“情”为本,而不应以“礼”为本；就艺术创作心理而言,道家论者强调应以“澄怀”为乐、画艺术的创作心理前提。其二,乐、画艺术创作实践的同构研究。该部分的研究亦以第一部分的研究为基础,意在阐述受《老》、《庄》思想的影响和引导,乐、画艺术在承担着政治任务的同时,独辟蹊径,立足于审美,开始注重对其自身的内部规律进行探索,从而走上了重自娱、重抒情、重体验的道路。基于《老》、《庄》思想的影响,此二者在创作内容、创作风格、创作技法以及艺术实践者等方面亦产生了同构性。 第四,择取唐、宋时期的文论,以个案研究的方式来论证古代乐、画艺术理论的同构性。案例有二：其一,以白居易的文论作为个案,探讨白居易乐、画理论的同构性,此同构点主要集中在白居易尚“真”的乐、画审美思想上。需要注意的是,虽然白居易的乐、画思想皆为尚“真”,但是其实质却有所不同,即前者呈现出了儒家思想的因素,而后者则呈现出了道家思想的因素。其二,以欧阳修的理论作为个案,探讨欧阳修乐、画理论的同构性,此同构点则主要集中在对乐、画艺术之“言”、“意”关系的论述上。需要注意的是,欧阳修乐、画理论的此处同构点亦体现了道家论者对乐、画艺术应解放人性的强调。 第五,立足于古代的艺术作品和乐、画理论,从审美形式和创作技法两个方面,来探讨古代乐、画艺术作品本身所存在着的同构性。 综观上述五个方面的见解,有两点问题需要注意：一方面,古代乐、画艺术不仅在艺术理论(理论表述模式、审美观念、创作理念、艺术功能观等)上存在着同构性,在艺术作品本身(审美形式、创作风格、创作内容、创作技法)上亦存在着同构性。另一方面,立足于儒、道思想,对儒家论者和道家论者的乐、画思想分别进行同构研究,不仅符合于古代乐、画理论的实际发展情况,同时亦还可以使我们在比较中清楚地看到不同思想体系下的同构乐、画理论所存在着的不同思想特点。
[Abstract]:Chinese traditional music and painting art are part of the splendid Chinese art culture. They not only show the unique charm of Chinese culture, but also show the blending of heterogeneous arts with their isomorphic relationship.
Music and painting, in terms of artistic form, appeal to the time art of hearing, while the latter appeal to the space art of vision; the former is the material of sound, while the latter is the material of lines and colors. Although this distinction is apparent from the surface, it is still isomorphic between the two. Compared with western traditional music and painting art, ancient Chinese music and painting art have their own unique form characteristics and contain unique humanistic spirit. Therefore, it is meaningful to study the isomorphism of ancient music and painting art.
This thesis is mainly based on the analysis of ancient music, painting theory and art examples, focusing on exploring the isomorphism of ancient music and painting art theory, so as to inherit and explore the unfinished cause of previous generations, so that the isomorphism of ancient music and painting art can be studied specially and systematically. In addition to exploring the isomorphism of artistic theory in an all-round way, the study of the isomorphism of artistic works itself can not be neglected, because the theory can not be empty talk, it is the summary of artistic practice, but also the guidance of artistic practice, so its ultimate return to the art itself. Based on the analysis of ancient music, painting theory and artistic examples, the author mainly studies the isomorphism of ancient music and painting art in artistic theory (its research contents mainly include theoretical expression mode, aesthetic view, creative view, artistic function view and so on), and extensively studies the isomorphism of ancient music and painting works of art (its research content). It mainly includes aesthetic forms, creative techniques, creative styles, creative content, artistic practitioners and so on. It should be noted that the isomorphism of music and painting works of art is based on the isomorphism of their artistic theory. Therefore, in this study, the isomorphism of music and painting art theory is the focus, the isomorphism of music and painting works of art itself. The research is the continuation and expansion of this key point. This research framework strives to give consideration to both the theoretical study of art and the study of art works themselves, and to make the study of the isomorphism of ancient music and painting art more logical and systematic.
Confucianism and Taoism are two very influential schools of thought in our country, which have great influence on our ancient artistic thought. Therefore, in this paper, on the one hand, we must base on Confucianism and Taoism's thought of music and painting to discuss the isomorphism of ancient music and painting theory. The influence of view and epistemology on the theory of ancient music and painting is that the artistic thoughts of Lao and Zhuang are related to their own philosophy.
In this paper, the author mainly based on the ancient music, painting theory, the ancient music, painting theory of isomorphism thought expressed some of his own views:
Firstly, based on the ancient theory of music and painting, the author tries to explore the isomorphism of ancient music and painting thought in the theoretical expression mode. These characteristics are also influenced by the theoretical expression mode of traditional philosophy. Therefore, in the specific discussion, the author takes the theoretical expression mode of traditional philosophy as the source to elaborate the theoretical expression mode of traditional music and painting thought.
Secondly, the author takes Confucian music and painting theory as the breakthrough point to discuss the isomorphism of ancient music and painting thought. The research of this part is divided into two parts: one is the isomorphism of music and painting art theory. Confucianism emphasizes music and painting should play the role of enlightenment and take on the function of self-cultivation. As far as art practice is concerned, Confucianism emphasizes music and painting should be practiced. Confucianism emphasizes the beauty of "harmony" in art appreciation. Second, the study of the isomorphism of music and painting creation practice. This part is based on the first part of the study and discusses the Confucianism. Under the influence of the thought of isomorphism of music and painting, both of them play an important role in ritual education, so they are isomorphic in artistic practitioners, creative content, creative style and creative techniques.
Thirdly, the author takes Taoist music and painting theory as the breakthrough point to discuss the isomorphism of ancient music and painting thought. The study of this part is also divided into two parts: one is the isomorphism of music and painting art theory. On the basis of this idea, Taoist scholars emphasized that music as the spiritual product of human beings, painting art should also get rid of the shackles of "rites" and return it to the needs of human nature. As far as artistic creation is concerned, Taoist theorists emphasize that music should be based on emotion rather than ritual; as far as artistic creation psychology is concerned, Taoist theorists emphasize that "Chenghuai" should be taken as music and the psychological premise of artistic creation. This part of the study is also based on the first part of the study, intended to elaborate by the < Lao >, < Zhuang > thought and guidance, music, painting art undertaking political tasks at the same time, a unique path, based on aesthetic, began to pay attention to its own internal laws to explore, thus embarking on a heavy self-entertainment, lyric, heavy experience road. The influence of Lao > and Zhuangzi < Zhuangzi > thoughts also has the same structure in the content, style, technique and artistic practitioner.
Fourthly, choose the literary theory of Tang and Song Dynasties to prove the isomorphism of ancient music and painting art theory by case study. There are two cases. First, take Bai Juyi's literary theory as a case to discuss the isomorphism of Bai Juyi's painting theory. This isomorphism mainly focuses on Bai Juyi's "true" music and painting aesthetic thought. Although Bai Juyi's thought of music and painting is still true, its essence is different, that is, the former presents the factors of Confucianism, while the latter presents the factors of Taoism. Second, taking Ouyang Xiu's theory as a case, this paper explores the isomorphism of Ouyang Xiu's theory of music and painting, and this isomorphism is mainly concentrated in the art of music and painting. It should be noted that Ouyang Xiu Yue, the isomorphism of painting theory here also reflects the Taoist view of music, painting art should liberate the emphasis of human nature.
Fifth, based on the ancient art works and music, painting theory, from the aesthetic form and creative techniques, to explore the ancient music, painting art works of their own existence of isomorphism.
On the one hand, the ancient music and painting art are not only isomorphic in artistic theory (theoretical expression mode, aesthetic concept, creative concept, artistic function view, etc.), but also isomorphic in artistic work itself (aesthetic form, creative style, creative content, creative technique). On the other hand, based on Confucianism and Taoism, the study on the isomorphism of Confucianism and Taoism is not only in accordance with the actual development of ancient music and painting theory, but also enables us to see clearly the isomorphism of music under different ideological systems and the different ideological characteristics of painting theory.
【学位授予单位】：广西师范大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：J120.9
本文编号：2222427
[Abstract]:Chinese traditional music and painting art are part of the splendid Chinese art culture. They not only show the unique charm of Chinese culture, but also show the blending of heterogeneous arts with their isomorphic relationship.
Music and painting, in terms of artistic form, appeal to the time art of hearing, while the latter appeal to the space art of vision; the former is the material of sound, while the latter is the material of lines and colors. Although this distinction is apparent from the surface, it is still isomorphic between the two. Compared with western traditional music and painting art, ancient Chinese music and painting art have their own unique form characteristics and contain unique humanistic spirit. Therefore, it is meaningful to study the isomorphism of ancient music and painting art.
This thesis is mainly based on the analysis of ancient music, painting theory and art examples, focusing on exploring the isomorphism of ancient music and painting art theory, so as to inherit and explore the unfinished cause of previous generations, so that the isomorphism of ancient music and painting art can be studied specially and systematically. In addition to exploring the isomorphism of artistic theory in an all-round way, the study of the isomorphism of artistic works itself can not be neglected, because the theory can not be empty talk, it is the summary of artistic practice, but also the guidance of artistic practice, so its ultimate return to the art itself. Based on the analysis of ancient music, painting theory and artistic examples, the author mainly studies the isomorphism of ancient music and painting art in artistic theory (its research contents mainly include theoretical expression mode, aesthetic view, creative view, artistic function view and so on), and extensively studies the isomorphism of ancient music and painting works of art (its research content). It mainly includes aesthetic forms, creative techniques, creative styles, creative content, artistic practitioners and so on. It should be noted that the isomorphism of music and painting works of art is based on the isomorphism of their artistic theory. Therefore, in this study, the isomorphism of music and painting art theory is the focus, the isomorphism of music and painting works of art itself. The research is the continuation and expansion of this key point. This research framework strives to give consideration to both the theoretical study of art and the study of art works themselves, and to make the study of the isomorphism of ancient music and painting art more logical and systematic.
Confucianism and Taoism are two very influential schools of thought in our country, which have great influence on our ancient artistic thought. Therefore, in this paper, on the one hand, we must base on Confucianism and Taoism's thought of music and painting to discuss the isomorphism of ancient music and painting theory. The influence of view and epistemology on the theory of ancient music and painting is that the artistic thoughts of Lao and Zhuang are related to their own philosophy.
In this paper, the author mainly based on the ancient music, painting theory, the ancient music, painting theory of isomorphism thought expressed some of his own views:
Firstly, based on the ancient theory of music and painting, the author tries to explore the isomorphism of ancient music and painting thought in the theoretical expression mode. These characteristics are also influenced by the theoretical expression mode of traditional philosophy. Therefore, in the specific discussion, the author takes the theoretical expression mode of traditional philosophy as the source to elaborate the theoretical expression mode of traditional music and painting thought.
Secondly, the author takes Confucian music and painting theory as the breakthrough point to discuss the isomorphism of ancient music and painting thought. The research of this part is divided into two parts: one is the isomorphism of music and painting art theory. Confucianism emphasizes music and painting should play the role of enlightenment and take on the function of self-cultivation. As far as art practice is concerned, Confucianism emphasizes music and painting should be practiced. Confucianism emphasizes the beauty of "harmony" in art appreciation. Second, the study of the isomorphism of music and painting creation practice. This part is based on the first part of the study and discusses the Confucianism. Under the influence of the thought of isomorphism of music and painting, both of them play an important role in ritual education, so they are isomorphic in artistic practitioners, creative content, creative style and creative techniques.
Thirdly, the author takes Taoist music and painting theory as the breakthrough point to discuss the isomorphism of ancient music and painting thought. The study of this part is also divided into two parts: one is the isomorphism of music and painting art theory. On the basis of this idea, Taoist scholars emphasized that music as the spiritual product of human beings, painting art should also get rid of the shackles of "rites" and return it to the needs of human nature. As far as artistic creation is concerned, Taoist theorists emphasize that music should be based on emotion rather than ritual; as far as artistic creation psychology is concerned, Taoist theorists emphasize that "Chenghuai" should be taken as music and the psychological premise of artistic creation. This part of the study is also based on the first part of the study, intended to elaborate by the < Lao >, < Zhuang > thought and guidance, music, painting art undertaking political tasks at the same time, a unique path, based on aesthetic, began to pay attention to its own internal laws to explore, thus embarking on a heavy self-entertainment, lyric, heavy experience road. The influence of Lao > and Zhuangzi < Zhuangzi > thoughts also has the same structure in the content, style, technique and artistic practitioner.
Fourthly, choose the literary theory of Tang and Song Dynasties to prove the isomorphism of ancient music and painting art theory by case study. There are two cases. First, take Bai Juyi's literary theory as a case to discuss the isomorphism of Bai Juyi's painting theory. This isomorphism mainly focuses on Bai Juyi's "true" music and painting aesthetic thought. Although Bai Juyi's thought of music and painting is still true, its essence is different, that is, the former presents the factors of Confucianism, while the latter presents the factors of Taoism. Second, taking Ouyang Xiu's theory as a case, this paper explores the isomorphism of Ouyang Xiu's theory of music and painting, and this isomorphism is mainly concentrated in the art of music and painting. It should be noted that Ouyang Xiu Yue, the isomorphism of painting theory here also reflects the Taoist view of music, painting art should liberate the emphasis of human nature.
Fifth, based on the ancient art works and music, painting theory, from the aesthetic form and creative techniques, to explore the ancient music, painting art works of their own existence of isomorphism.
On the one hand, the ancient music and painting art are not only isomorphic in artistic theory (theoretical expression mode, aesthetic concept, creative concept, artistic function view, etc.), but also isomorphic in artistic work itself (aesthetic form, creative style, creative content, creative technique). On the other hand, based on Confucianism and Taoism, the study on the isomorphism of Confucianism and Taoism is not only in accordance with the actual development of ancient music and painting theory, but also enables us to see clearly the isomorphism of music under different ideological systems and the different ideological characteristics of painting theory.
【学位授予单位】：广西师范大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：J120.9
【参考文献】
相关期刊论文 前1条
1 李槐子;大音并非无声——也解“大音希声”[J];中国音乐;1992年03期
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