诗外之功的“无意识”、“有意识”与“升华”——李光曦与众不同的艺术道路

发布时间：2018-06-28 17:11

本文选题：李光羲 + 诗外之功　；参考：《音乐创作》2017年07期

【摘要】："言有尽而意无穷"是中国传统艺术的审美追求,也是从事艺术创作最难把握的状态。因为它没有具体标准和形式,更没有可以模仿的范本。它蕴含在具体的艺术形象之中,构成"此在"又"彼在"的审美过程。在中国传统艺术的千百年的发展过程中,对"言有尽而意无穷"的追求丝毫没有停滞过,逐渐的摸索出了一个叫做"诗外之功"的东西,"诗外之功"把艺术引向"言有尽而意无穷"的审美境界。然而,"诗外之功"的概念也不算具体,艺术门类的不同,具体实践者的个体特点的差异都模糊化了这个概念。康德著名的二律背反原理,即艺术的合目的而无目的性与"诗外之功"有着内在联系。本文通过对歌剧表演艺术家李光羲艺术历程和成就的分析来探讨"诗外之功"的诗意境界。
[Abstract]:It is the aesthetic pursuit of Chinese traditional art and the most difficult state to engage in artistic creation. Because it does not have concrete standard and form, still less can imitate model. It contains in the concrete artistic image, forms the aesthetic process of "this being" and "the other being". In the course of the development of Chinese traditional art for thousands of years, the pursuit of "having all the words but endless intentions" has not stagnated at all. Gradually groping out a thing called "the work outside the poem", "the work outside the poem" leads the art to the aesthetic realm of "the word has all but the meaning is infinite". However, the concept of "work beyond poetry" is not specific, the different categories of art, the differences of individual characteristics of specific practitioners have blurred the concept. Kant's famous two-law reciting principle, that is, the purpose of art without purpose, has an internal relation with "the work beyond poetry". By analyzing the artistic process and achievements of opera performing artist Li Guangxi, this paper probes into the poetic realm of "work beyond poetry".
【作者单位】：天津师范大学音乐与影视学院声乐系;
【基金】：天津市艺术科学规划项目编号:A14044
【分类号】：J616

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