论晚明艺术功用观念的价值取向  

Study on the Value Orientation of Art Function in Late Ming Dynasty

作　　者：吴衍发[1] WU Yan-fa(School of Literature and Art, Anhui University of Finance and Economics, Bengbu 233030, Chin)

机构地区：[1]安徽财经大学文艺学院,安徽蚌埠233030

出　　处：《西安文理学院学报（社会科学版）》2017年第3期1-6,共6页Journal of Xi’an University(Social Sciences Edition)

基　　金：2016年度国家社科基金艺术学项目:晚明书画消费与文人生活(16BA008)阶段性成果

摘　　要：在晚明特定历史时期,情感解放与精神自由成为晚明文人共同的心理诉求,无论戏曲艺术还是书画等其他艺术形式,都有着相同的审美娱乐观念,都把艺术视为宣泄情感和自我娱适的方式,因而任情适性和自娱自适的观念就自然成为晚明艺术功用的价值取向和时代属性,从而完成了中国艺术史上艺术功用价值的重大转变。自其浅者言之,文人乃得性灵之快适;依其深者言之,文人找到了性灵安顿之所。基于这种价值取向,晚明文人把个体的人格精神和自由活泼的生命精神自然融入词曲书画等各类艺事之中,使自我实现的情感需要得到了满足,同时也凸显了艺术任情娱适、快意人生的功能观念与价值取向。In the specific historical period of late Ming Dynasty, the liberation of emotion and spiritual freedom be- came the common aspiration of the late Ming literati, whether it is the opera art or painting and calligraphy and oth- er art forms, have the same concept of aesthetic entertainment, self-entertainment, therefore, the concept of respect for emotions regarding art as a way to vent their emotions and and fit for temperament became the value orienta- tion and the time attribute of art function, and completed a significant change of artistic function value in the history of Chinese art. On the one hand, the spirit of happiness and fitness was obtained, on the other hand, their soul and spirit were settled down. Based on this value orientation, the literati freely devoted their personality spirit and free and lively spirit to opera and calligraphy and painting and other arts, and so their emotional needs of self-realization were appeased, and the concept of art function and value orientation were highlighted.

关 键 词：价值取向 艺术功用 任情适性 自娱自适 晚明 

分 类 号：J120.9[艺术—艺术理论]