婆罗多的“味”论:印度古典美学理论与电影艺术的关系  

Bharata’s Theory of Aesthetic Pleasure or Rasa: Classical Indian Theories of “Aesthetics” and Their Relation to Cinema

作　　者： 张潇予 Gopalan Mullik

机构地区：[1]印度加尔各答圣·泽维尔学院大众传播与摄影系 [2]中国传媒大学外国语言文化学院 [3]中国传媒大学新闻传播学部电视学院

出　　处：《电影艺术》2021年第3期28-36,共9页Film Art

摘　　要：印度古典美学家婆罗多(Bharata)的艺术理论中有五个核心概念被广泛讨论,包括审美、审美体验、"情"、认同和"味",其中以"味"论最为经典。婆罗多之后的新护、跋吒·那耶迦等人对其理论进行了解构与发展,认为观众感知到"味"有三个先决条件,对艺术作品的认知则有五个层次。印度戏剧中的情节由"关节"连接,由此产生了"五关节论"和戏剧情节的"五阶段论"及"五元素论"。观众对"味"的品尝有三个阶段,但在品尝过程中会有七种阻碍。There are five points of Bharata’s aesthetic theory are discussed widely in modern academic field, especially the theory of Rasa. Indian classical aesthetic theorists Abhinavagupta, Bha??a Nāyaka etc developed and commented on Bharat’s theory. It is argued that there are three pre-conditions of experiencing Rasa by audience and there five levels of identification with artworks among audience. Audience engage with rasas in three stages, but will also have obstacles in experiencing rasas. In a complete play structure, there five Sandhis(junctions), five psychological States(Avasthās)and five forms of Actions(Arthaprak?tis).

关 键 词：婆罗多 味论 印度古典美学 审美愉悦 

分 类 号：J901[艺术—电影电视艺术]