晚明画学与曲学的南化
发布时间：2018-09-06 08:31
【摘要】：本论文力图通过研究和比较晚明江南文士在画学与曲学两个艺术领域的"南化"进程,探究推动这场变革背后共同的文艺理念,反映当时社会环境的变化与人们对思想、文化的需求。南宗文人画与昆腔南曲是晚明时期新兴的文艺代表。这两种艺术形式都立足于江南细腻而雅致的文化韵味,持续着对传统思想核心的深层汲取,融入中原和北方的古典格法之中,三者构成了论文所提出的"以南化北"的思想与审美本质。明末画学与曲学具有鲜活的生命力,文士秉承着历史赋予的使命,契合时代人心真实的需求,凭借生动活泼的形式积极建立理论体系,以维系传统之正脉。晚明画学与曲学的创作者、批评者大都集中在江南及周边地区,其中有不少同时参与两类艺术活动的文人学士。他们通过借鉴画学与曲学相互的养料对自身进行补充,从而探索实现共同的文化追求。"以南化北"在当时即是"以今化古",这对今天如何继承、发扬传统文化精髓的探索之路有着深刻的启示作用。
[Abstract]:This paper tries to study and compare the "Nanhua" process of the literati in the two fields of painting and music in the late Ming Dynasty, to explore the common literary and artistic ideas behind this reform, and to reflect the changes in the social environment and the people's thoughts at that time. The need for culture. Nanzong literati painting and Kun Qiang Nan qu are emerging literary representatives in the late Ming Dynasty. These two forms of art are based on the delicate and elegant cultural charm of the south of the Yangtze River, and continue to absorb the core of traditional ideas deeply and integrate into the classical style of the Central Plains and the North. The three constitute the thought and aesthetic essence of "taking the south to the north" put forward in the paper. In the late Ming Dynasty, painting and qu studies had fresh vitality. The literati carried on the mission given by the history, suited to the real needs of the people of the times, and actively established the theoretical system by the lively form, in order to maintain the traditional positive pulse. In the late Ming Dynasty, most of the critics of painting and qu were concentrated in the south of the Yangtze River and its surrounding areas, and many of them participated in both kinds of artistic activities. They complement themselves by drawing lessons from the mutual nourishment of painting and music, so as to explore and realize the common cultural pursuit. " At that time, "turning the north to the south" was "turning the ancient into today", which has a profound enlightening effect on how to inherit and carry forward the essence of traditional culture.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J120.9
本文编号：2225794
[Abstract]:This paper tries to study and compare the "Nanhua" process of the literati in the two fields of painting and music in the late Ming Dynasty, to explore the common literary and artistic ideas behind this reform, and to reflect the changes in the social environment and the people's thoughts at that time. The need for culture. Nanzong literati painting and Kun Qiang Nan qu are emerging literary representatives in the late Ming Dynasty. These two forms of art are based on the delicate and elegant cultural charm of the south of the Yangtze River, and continue to absorb the core of traditional ideas deeply and integrate into the classical style of the Central Plains and the North. The three constitute the thought and aesthetic essence of "taking the south to the north" put forward in the paper. In the late Ming Dynasty, painting and qu studies had fresh vitality. The literati carried on the mission given by the history, suited to the real needs of the people of the times, and actively established the theoretical system by the lively form, in order to maintain the traditional positive pulse. In the late Ming Dynasty, most of the critics of painting and qu were concentrated in the south of the Yangtze River and its surrounding areas, and many of them participated in both kinds of artistic activities. They complement themselves by drawing lessons from the mutual nourishment of painting and music, so as to explore and realize the common cultural pursuit. " At that time, "turning the north to the south" was "turning the ancient into today", which has a profound enlightening effect on how to inherit and carry forward the essence of traditional culture.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J120.9
【参考文献】
相关期刊论文 前2条
1 周巩平;;明清两代太仓的两大王氏曲学家族[J];曲学;2014年00期
2 程芸;沈t煛昂下梢狼弧崩砺凼銎繹J];文学遗产;2000年05期
，本文编号：2225794
本文链接：https://www.wllwen.com/wenyilunwen/huanjingshejilunwen/2225794.html
