明代戏曲与绘画尚“奇”的共识和异指  

On Common and Differences on the Pursuit of New between Traditional Chinese Opera and Paintings of the Ming Dynasty

作　　者：徐燕琳[1] 

机构地区：[1]华南农业大学人文学院

出　　处：《浙江艺术职业学院学报》2008年第3期29-38,共10页Journal of Zhejiang Vocational Academy of Art

基　　金：教育部人文社会科学研究项目<明代剧论与画论>(06JC75011-44007)

摘　　要：明代戏曲和绘画都有尚"奇"之风,呼唤创作主体的真情表达和新奇想象。这显示了共同的艺术心理规律,也与共同的时代特征和背后成熟稳定的市民社会有关。但由于各自艺术形态、美学风格、历史发展等的不同,戏曲理论的欣赏点,主要着眼于作品,表现为对情节、结构、人物、舞蹈、技艺等"奇"的追求;而对于绘画界来说,既包括缘情写意的创作态度,还包括对画家个人的奇行狂态、个性张扬的容忍乃至赞赏。对于这些问题的辨析和思考,有助于更深刻地理解艺术现象,也更深刻地理解艺术的本质和规律。There is a practice of pursuing new of traditional Chinese operas and paintings in the Ming dynasty, calling for emotional expression and novel imagination. They have common artistic psychological law and common characteristics of the times. However, due to their different art forms, aesthetic styles and historical development, the theory of opera mainly focus on works, pursuing new of the plot, structure, characters, stage art and techniques. The painting includes not only the creative attitude of expressing emotion according to different situations, but also the tolerance and appreciation of the painter＇s personal strange behavior and unique personality. The analysis and thinking of these issues contribute to a more profound understanding of the artistic phenomenon and the nature and law of art.

关 键 词：奇 明代 戏曲理论 绘画理论 

分 类 号：I207.37[文学—中国文学]