现代语境中的“气韵”范畴  

Vivid Charm in the Modern Context

作　　者：曾肖[1] ZENG Xiao(Department of Liberal Arts, Jinan University, Guangzhou 510632, China)

机构地区：[1]暨南大学文学院,广东广州510632

出　　处：《太原师范学院学报（社会科学版）》2019年第1期35-40,共6页Journal of Taiyuan Normal University:Social Science Edition

摘　　要：南朝谢赫标举的六法之首"气韵生动"是中国古代绘画、文学、美学领域中备受推崇的艺术准则和中心范畴。20世纪初期,随着中西文化的交融与现代化进程的发展,气韵范畴获得了新的阐释,进入了现代文艺美学的研究领域。通过将"气韵"与本雅明的"灵韵"、苏珊·朗格的"生命意味"进行比较,可以发现气韵范畴依然存活在现代文艺美学中,其生命力来自于传统文化、思维方式与现实需求。气韵所体现的那种人与自然圆融和谐的生命精神,不仅适用于走向现代化的中国,也适用于失落在后工业化时代的西方。In the Southern Dynasty,“vivid charm”(Qi Yun Sheng Dong) advocated by Xie He has gradually become highly artistic criteria and central idea of the ancient Chinese painting, literature and aesthetics. In the early 20 th century, with the cultural exchange between China and the west and modernization process, the idea “vivid charm” is reinterpreted in the field of modern art aesthetics. The paper, by comparing “vivid charm” and Benjamin s Aura, Susan Lange s Life Significance, draws a conclusion that “vivid charm” still has vitality in modern literary aesthetics because it comes from traditional culture, the way of thinking and realistic demand. And it is of significance to modern China and the West as well for it reflects the philosophy of harmony between man and nature.

关 键 词：气韵 灵韵 生命意味 现代价值 

分 类 号：I06[文学—文学理论]