释“空白”—中国古典美学中的一个潜范畴

发布时间：2018-05-28 22:24

本文选题：空白 + 潜范畴　；参考：《曲阜师范大学》2008年硕士论文

【摘要】： “空白”是由西方首先提出的一个文艺理论概念,但是它也早就引起了中国古人的注意,他们一直高度肯定“空白”的美学价值和意义,纵观我国古典美学的整个历程,深深植根于古典哲学的“空白”已经上升到一个重要的审美范畴的意义层面了,由于没有正式提出过,我们叫它潜范畴。 “空白”潜范畴在中国古典美学中处于十分重要的地位,它是艺术不可或缺的组成部分,是艺术的肯綮和机窍,也是我们美学中最独特、最精华的部分。它植根于中国哲学,在中国古典美学中有着特殊的表现,它的内涵极其丰富,虚、空、无等其实是这个潜范畴的显性表现形态。从横向来看,它在我国古典美学的几乎各个领域都有深刻的影响;从纵向来看,它贯穿于中国古典美学的整个历程。它既是一种审美境界的追求,还是一种人生境界的追求。粗略地来看一下它的发展历史分期:先秦两汉是前期,先秦哲学关于有无、虚实、阴阳等的论辩,其目的很少直指艺术,却不期然中影响并左右了后世中国“空白”潜范畴思想体系的确立和审美特征的形成;魏晋南北朝至唐中叶是中期,受玄学的影响,“空白”潜范畴由哲学领域逐渐向人生及艺术的各个领域渗透,“空白”潜范畴已有意识地被纳入社会文化审美视野,直接影响了当时的书法、音乐、绘画的创作及理论总结;隋唐时期还伴随着意境理论的成熟更加巩固了前期的成果;唐中叶以后至明清是后期,“空白”潜范畴走向了空前的兴盛,并使山水画艺术超过其它门类在宋元时期达到了顶峰,到了明清时期“空白”潜范畴则进一步深化,主要表现为它在许多艺术部门都得到了广泛深入的运用,尤其是在戏剧和园林建设中。应该说,在整个发展历程中,“空白”潜范畴一直以一种虚灵的心境在自然外物和人的精神自由之间搭起了一座审美的桥梁。它追求的不是外在的言辞,而是一种与宇宙生命深层的契合。随着时代的进展,人们对“空白”潜范畴的审美特征也有了更加深刻全面的认识,它既是艺术创作追求的美学境界,其中创作主体心灵的虚空是不可或缺的前提条件,同时也是欣赏接受追求的重要内容,它不仅能够唤起审美主体积极的审美鉴赏,还能诱发审美主体的审美再创造。此外,它的审美特征也得到了不断的丰富,它具有很强的哲学思辩性,它一直钟情于自然,它始终伴有浓郁的感情,它追求空静淡远美,韵味十足。
[Abstract]:"blankness" is a concept of literary and artistic theory first put forward by the West, but it has long attracted the attention of the ancient Chinese. They have always highly affirmed the aesthetic value and significance of "blank", and have taken a broad view of the whole course of classical aesthetics in China. Deeply rooted in the "blank" of classical philosophy, it has risen to the meaning of an important aesthetic category. The latent category of "blank" plays a very important role in Chinese classical aesthetics. It is an indispensable part of art, a key point of art, and the most unique and essential part of our aesthetics. It is rooted in Chinese philosophy and has a special expression in Chinese classical aesthetics. Its intension is extremely rich, empty, and so on, in fact, it is the dominant manifestation of this latent category. From the horizontal point of view, it has a profound influence in almost every field of Chinese classical aesthetics, and it runs through the whole course of Chinese classical aesthetics from the vertical point of view. It is not only the pursuit of an aesthetic realm, but also the pursuit of a realm of life. Take a rough look at the historical stages of its development: the pre-Qin and Han dynasties were the early stage, and the pre-Qin philosophy was rarely directed to art in terms of whether there was something, whether it was empty or not, Yin and Yang, and so on. However, it influenced and controlled the establishment of the latent category system and the formation of aesthetic characteristics of the "blank" category in later China. The period from the Wei, Jin and the Southern and Northern dynasties to the middle of the Tang Dynasty was the middle period, and was influenced by metaphysics. The latent category of "blank" has gradually infiltrated into various fields of life and art from the field of philosophy. The category of "blank" has been consciously brought into the aesthetic view of social culture, which directly affected the creation and theoretical summary of calligraphy, music and painting at that time. During the Sui and Tang dynasties, with the maturity of the artistic conception theory, the early achievements were further consolidated. From the middle of Tang Dynasty to the late Ming and Qing dynasties, the latent category of "blank" became more prosperous than ever. In addition, the landscape painting art reached its peak in the Song and Yuan dynasties, and the latent category of "blank" in the Ming and Qing dynasties was further deepened, mainly because it was widely and deeply used in many art departments. Especially in drama and garden construction. It should be said that in the whole course of development, the latent category of "blank" has been an aesthetic bridge between natural objects and human spiritual freedom. It seeks not external words, but a deep-fitting with the life of the universe. With the development of the times, people have a deeper and more comprehensive understanding of the aesthetic characteristics of the latent category of "blank", which is not only the aesthetic realm pursued by artistic creation, but also the essential prerequisite of the creation subject's mind. At the same time, it is also an important content of appreciation and acceptance, which can not only arouse the positive aesthetic appreciation of the aesthetic subject, but also induce the aesthetic re-creation of the aesthetic subject. In addition, its aesthetic characteristics have been constantly enriched, it has a strong philosophical thinking, it has always loved nature, it has always been accompanied by strong feelings, it pursues quiet and distant beauty, full of charm.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I01

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