从“文以载道”到“文以自娱”——论晚明戏剧艺术功用观念之嬗变  

From “Literature for Education”to “Literature for Self-entertainment”:Operas' Functional Evolution in Late Ming Dynasty

作　　者：吴衍发[1] 

机构地区：[1]安徽财经大学文学与艺术传媒学院,安徽蚌埠233030

出　　处：《贵州大学学报（艺术版）》2015年第3期82-88,共7页Journal of Guizhou University Art Edition

基　　金：国家社科基金项目"脉望馆钞校本古今杂剧整理与研究"(项目编号:13BZW085);教育部人文社科基金项目"一般艺术学视角下的清代艺术批评史研究"(项目编号:13YJC760030);教育部人文社科基金项目"基于艺术学理论的中国艺术史学研究方法"(项目编号:13YJA760022)

摘　　要：晚明戏曲艺术在功用观念上完成了由"文以载道"向"文以自娱"的嬗变。这种嬗变是明中后期以来心学的播布、市民文艺的繁荣和商业经济的发展等彼此间相互渗透的必然结果。艺术功用观念由此前极端重视传统意义上的艺术教化观念的非审美功能,转向以高扬艺术审美情感、重视艺术自身特征的审美功能,从而推动了晚明戏曲艺术的极大繁荣和发展。而戏曲艺术娱乐观念的流行,预示着戏曲文学传统功利主义功能的淡化,而其作为艺术本体的审美特性得到了强化与凸显,这对文学艺术本身的发展与文学艺术特质的丰富都有着极大的促进作用。在这一嬗变过程中,虽然艺术的教化功用观念已经明显下降,且退居次要地位,但其作为功能体系中惟一涉及作品社会意义的重要审美标准,必将仍旧是艺术审美与批评的重要标准之一。The operas in the Late Ming Dynasty completed its evolution from the ＂literature for education＂to ＂literature for self- entertainment＂that necessarily resulted from the spreading philosophy of ＂spiritual state＂,the prosperity of folk arts and the commercial development at that time. Instead of emphasizing the non- aesthetic concept of education as before,the artistic functions changed to highlight the inherent artistic features and thus promoted a huge prosperity and development of operas. The popularity of operas for entertainment indicated the weakening of its traditional utility for education and the strengthening of its aesthetic features as an artistic ontology that further promoted the development of literature as an art and enriched its literary features. During the evolution,though the concept for education has been weakened drastically and not as important as before,it certainly remains as one of the important standards in artistic aesthetics,for it is the only standard that is associated with works＇ social significance.

关 键 词：文以载道 文以自娱 功用嬗变 戏剧艺术 晚明 

分 类 号：I206[文学—中国文学]