宋词雅俗观中的色彩意蕴研究--以柳永词作为例  

Study on colour connotations from the view of elegance and secularism in Song lyrics:Example of Liu Yong′s lyrics

作　　者：李爱琳 贺华洲 姚琛[1] LI Ailin;HE Huazhou;YAO Chen(School of Fashion Design&Engineering,Zhejiang Sci-Tech University,Hangzhou 310018,China)

机构地区：[1]浙江理工大学服装学院,杭州310018

出　　处：《浙江理工大学学报（社会科学版）》2022年第5期589-595,共7页Journal of Zhejiang Sci-Tech University：Social Sciences

基　　金：国家社会科学基金项目民族学重点课题(19AMZ009)。

摘　　要：王国维有言:“词之雅郑,在神不在貌。”唐诗宋词中色与情素相得益彰,“以色主情,以情观色”,是中国诗词独有的审美情趣。文章以北宋词人柳永词作为例,围绕其“雅”“俗”词作两个不同的主题取向,分析其中视知觉对色彩客观的把握和感性知觉表征。以色为载体,从读者所产生的情感共鸣到展开的色彩联想,都建立了与世间万物的最大限度联系;从具象到抽象,从一维到多维,传达色彩与雅俗情趣间的抽象性。色,不局限于物象;雅俗共赏的色彩意蕴,亦可运用于当今艺术色彩设计层面,在新时代的艺术创作和审美中得到进一步的转化、融合与发展。Wang Guowei said, "Whether lyrics are elegant or vulgar depends on the spirit rather than the form". In the Tang poems and Song lyrics, colour and emotion complement each other, and it is a uniquely Chinese aesthetic taste to "convey emotions through colours and depict colours through emotions". This study takes the Northern Song lyricist Liu Yong as an example, focusing on two different thematic orientations of his ′elegant′ and ′vulgar′ lyrics, and analyses the objective grasp of colour and perceptual representation of visual perception in them. Using colour as a carrier, it has established a maximum connection with everything in the world from the reader′s emotional resonance to the unfolded colour associations. It also conveys the abstraction between colour and elegance and vulgarity from concretization to abstraction and from one-dimension to the multi-dimension. Colour is not confined to objects. The connotations of colour that suit both refined and popular tastes can also be applied to colour design in today′s art, further transformed, integrated and developed in the creation and aesthetics of the new era.

关 键 词：色彩意蕴 雅俗观 雅俗共赏 色彩情绪 宋词 柳永 

分 类 号：J01[艺术—艺术理论] I207.23[文学—中国文学]