古典戏曲中艺术意境的多层次构成:以《牡丹亭》为例  

Multi-Level Composition of Artistic Conception in Chinese Classical Drama:with a Focus on The Peony Pavilion

作　　者：胡洋[1] 

机构地区：[1]北京大学中文系,北京100871

出　　处：《文化艺术研究》2017年第2期83-90,共8页Studies in Culture and Art

摘　　要：意境是构成中国古典戏曲审美特点的重要方面,古典戏曲本身也形成了一个独特的艺术意境生成场域。戏曲的意境,在本质上与中国美学的哲学根源相通。《牡丹亭》的意境生成,是汤显祖对历代艺术家追求意境审美理想的回应与拓展。《牡丹亭》的艺术意境呈现出层层递进的深度模式,包括曲词中的情景妙合、戏曲特有的叙事性和丰富性,以及舞台之外的普遍性哲思。古典戏曲的意境层次由浅入深、从有限到无限,意境的最终实现是以审美的方式完成对人生超越性、本真性的反思和把握。Artistic conception is an important aspect of the aesthetic characteristics of Chinese clas-sical drama. Meanwhile, the classical drama has formed a unique generating field of artistic concep-tion. The artistic conception of traditional Chinese opera is essentially connected with the philosophi-cal root of Chinese aesthetics. The generation of the artistic conception in The Peony Pavilion, is the author ’ s response and expansion of earlier artists ’ pursuit of aesthetic ideal. The artistic conception of The Peony Pavilion presents a deep progressive pattern, which includes the natural blend of feel-ing and setting in songs, the unique narrative and richness of classical drama and the universal phi-losophy beyond the stage. The artistic conception of classical drama is generated from the simple to the profound, from the limited to the infinite. The ultimate realization of artistic conception is to grasp and reflect the transcendence and authenticity of life in the aesthetic way.

关 键 词：古典戏曲 《牡丹亭》 艺术意境 象外之境 

分 类 号：I207.3[文学—中国文学]