论金湘歌剧的视觉思维

发布时间：2018-05-10 17:17

本文选题：视觉思维 + 金湘　；参考：《新美术》2017年07期

【摘要】：正自古以来,中华民族文化艺术十分注重对视觉感受与听觉感受的互通运用。"桃花潭水深千尺,不及汪伦送我情","黄河之水天上来,奔流到海不复回"等佳句都是经典范例。但单纯对歌剧这一题材进行探讨,碍于其起源及发展的历史文化背景(社会动荡、物资匮乏等),尤其特定历史时期的中国歌剧创作大多是为了精神的宣传与鼓舞,需要走到广大人民群众中去,到农村、到劳动人民的身边进行创演。歌剧艺术家在这样的客观条件下没有以整体性艺术思维进行创作,这也制约了中国歌剧中视觉思维
[Abstract]:Since ancient times, Chinese culture and art have attached great importance to the mutual use of visual and auditory feelings. " Peach Blossom Lake is a thousand feet deep, less than Wang Lun sent me "," the Yellow River from the sky, running to the sea, and other good sentences are classic examples. But simply discussing the theme of opera, due to its origin and development of historical and cultural background (social unrest, lack of materials, etc.), especially in a specific historical period of Chinese opera creation is mostly for the spiritual propaganda and inspiration. We need to go to the masses, to the countryside and to the working people. Under such objective conditions, opera artists did not create with holistic artistic thinking, which also restricted the visual thinking in Chinese opera.
【基金】：黑龙江省哲学社会科学研究规划项目:“歌剧与视觉思维:以金湘作品为例”的阶段性成果,课题批准号:16YSC05
【分类号】：J617.2

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