气韵范畴在现代化进程中的多维阐释——以宗白华、邓以蛰、钱钟书、徐复观为例  

Multiple Dimensions in Interpreting the Artistic Spirit and Life Concept in the Modernization Process

作　　者：曾肖 

机构地区：[1]暨南大学文学院中国文化史籍研究所

出　　处：《学术研究》2018年第1期164-170,178,共7页Academic Research

基　　金：中央高校基本科研业务费专项资金资助"暨南跨越计划"(15JNKY005)资助

摘　　要：南朝谢赫标举六法之首的"气韵生动",逐渐成为中国古代绘画、文学、美学领域中推崇备至的艺术准则和中心范畴。上个世纪初期,随着中西文化的交融与现代化进程的发展,经过中外学者新的阐释,气韵范畴进入了现代文艺美学的研究领域。宗白华认为气韵是宇宙中鼓动万物的"气"的节奏、和谐,气韵生动即"生命的节奏";邓以蛰认为气韵即"一气运化秘移之节奏";钱钟书提出气韵是"生气远出";徐复观指出气韵的根本义是"传神之神",气韵生动就是"神"的观念的具体化、精密化。In the Southern dynasty, ‘vivid flavor' as the first concept of six rules by Xie He has gradually become an artistic criteria and central concept in the fields of ancient Chinese painting, literature and aesthetics. In the early 20 th century, with a blend of Chinese and western cultures in modernization process, Qi Yun of the scope accessed to a new interpretation of modern art aesthetics in the research field. There are many meanings of Qi Yun included the Life Rhythm proposed by Zong Baihua, the rhythm of transporting flavor proposed by Deng Yizhe, the flavor vivid and distant proposed by Qian Zhongshu, and lifelike proposed by Hsu Fukuan.

关 键 词：气韵 生命节奏 生气远出 传神 

分 类 号：I01[文学—文学理论]