由《瓶花谱·品瓶》管窥明代清雅复古美学旨趣  

Aesthetic Taste of Ming Dynasty Reflected in Vase and Flower

作　　者：张文浩[1] 沈文凡[2] 

机构地区：[1]长春师范大学文学院,吉林长春130032 [2]吉林大学文学院,吉林长春130012

出　　处：《扬州大学学报（人文社会科学版）》2014年第5期53-60,共8页Journal of Yangzhou University(Humanities and Social Sciences Edition)

基　　金：吉林省社会科学基金项目研究成果(2013B203);中国博士后科学基金资助项目(2014M551167)

摘　　要：张谦德《瓶花谱》体系规整,超越此前著家随兴记录体而有意建构了自己的审美理念,从品瓶、品花、折枝、插贮、滋养、事宜、花忌、护瓶等方面系统述呈其花艺思想和生活观念,成为明代花艺理论经典作品。其中《品瓶》一节提出"贵磁铜,贱金银,尚清雅"的复古旨趣,在美学理念、艺术构思、心理机制、材料准备、创作过程等方面的因袭传递与突围新变,响应明代中晚期之转俗成雅的美学风向;着重从铜器和瓷瓶的选择来表达一种清供文化的清雅意蕴,又将复古理念与休闲美学结合起来,在实践层面探索了艺术与生活如何谐美、生活之理性与感性如何兼营等问题。The Vase and Flower by Zhang Qiande systematically records the aesthetic notions of the author, including 8 sections respectively illustrating the notions about the vases, flowers and so on. This book surpasses its preceding ones and makes itself a classical theoretical one in the Ming Dynas- ty. The section on the vases proposes a retro taste of valuing bronze and devaluing gold and silver, echoing the aesthetic tendency of shifting from vullzaritv to eleeance in the mid and late Ming Dynasty.

关 键 词：《瓶花谱》 艺术美学 清雅复古 清供文化 

分 类 号：I206.2[文学—中国文学]