气韵与意境的共通性探析

发布时间：2018-04-13 22:39

本文选题：气韵 + 意境　；参考：《中南民族大学》2009年硕士论文

【摘要】： “气韵”与“意境”是我国古代文艺美学两个既有联系又有区别的范畴,遗憾的是鲜见人们探讨二者的关系,古代批评家撰写的区分艺术形态的著作,如诗品、画品等,往往是对气韵与意境的一体化描述,现代批评界也多停留于一种含混的区分,因此,探究二者的关系有着十分重要的意义。本文着重从二者的共通性着眼进行探索,尝试揭示先哲所以能成功地进行一体化描述的缘由。首先,从深层来由看,二者均显“道”。道在中国哲学中具有本体地位,也是我国传统的人文文化诸领域立论的根基。事实上,司空图的《二十四诗品》描述的各品都与道相联系,这是人们或将它看作是风格论,或看作是意境论的基本原因之一。尽管如此,今天我们在理论上仍应有所区分:气韵是在阴与阳的张力中表现道,一阴一阳构成道的律动状态,由此而形成气韵;意境是在虚与实的统一中表现道,道亦有亦无,非有非无,意境是一种象外之象,是有与无的统一。其次,从艺术表现角度看,二者都可谓是传“神”。神的观念源远流长,我们的先人由敬畏外在的神祗发展为崇尚内在的精神,所谓传神即是在形貌中显现精神或神明。在以山水为题材的诗画中,传神既是意境的创造,又是气韵的呈现。不过二者仍有区别,如果将艺术品作为一个艺术符号,气韵生成于能指层面,它在艺术家操作符号过程中呈现;意境则生成于符号的所指层面,展现了艺术家所想象的生活世界。第三,从艺术的鉴赏角度看,领略二者都需要品“味”。古人讲求“味外之旨”、“韵外之致”,既包括艺术品的内容,也包括艺术品的形式,特别指称其中超越逻辑语言所不能确切描述的诗意部分。二者的区别在于:作品气韵的品味是对艺术形式的玩味,一般来说尤为艺术家们所重视,而作品诗意境界的品味则是对作品内容的赏会,为普通欣赏者所热衷,由此而进入与人生意蕴相关的思考和领悟。
[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.
【学位授予单位】：中南民族大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I01

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