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作 者:柯丽娜 KE Lina
机构地区:[1]黑龙江大学新闻传播学院
出 处:《社会科学》2023年第8期79-88,共10页Journal of Social Sciences
基 金:国家社会科学基金一般项目“古代乐论视域下中国美学范畴形成与建构研究”(项目编号:20BZW031)的阶段性成果。
摘 要:“韵”是中国美学、艺术学中的代表性范畴,其肇端于音乐领域。就字形而言,其脱胎于“均”,就字义来讲,与“音”“和”相通。在汉代以后的艺术实践中,通过音乐和文学对音声之韵的强调,“韵”的节奏内涵得以凸显。音声领域的节奏认同,实际上属于集体无意识中人们对生命节奏认同的具体化。以生命节奏为连接点,魏晋人物品藻实现了“韵”从音声之韵向人物之韵的理论进阶,人物品藻所尚之“韵”就是对生命节奏的发现和张扬。在人物品藻的助力下,“韵”在人们认知领域获得了合法性,亦在日常生活中受到广泛关注。这一过程,起到了反哺艺术审美的作用。“气韵”作为“韵”的次生范畴,不仅实现了对人物品藻中“动”之生命节奏的继承,也初步完成了人物之韵向美学之韵的理论升华。总体上,“韵”作为美学范畴经历了音声之韵、人物之韵、美学之韵的不断成熟过程。无论生活审美中的“以静言韵”,还是艺术审美中的“以动言韵”,都属于“韵”美学化历程的副产品。"Rhyme",as a representative category in Chinese aesthetics and arts,originated in the field of music.Its graphemic root is"均"(equal),and its meaning is connected with"sound"and"harmony".In the artistic practice after the Han Dynasty,the rhythmic connotation of"rhyme"was highlighted through the emphasis of music and literature on the rhyme of sound.The rhythmic identification in the field of sound actually embodied people's identification with the rhythm of life in the collective unconscious.Through the connection of the rhythm of life,the theoretical advance of"rhyme"from sound to characters was realized in the character evaluation of Wei-Jin Period,and the"rhyme" advocated in character evaluation was reflected in the discovery and expression of the rhythm of life.With the help of character evaluation,"rhyme"gained legitimacy in people's cognition and the public attention in daily life.This process in turn nurtured artistic aesthetics.As the secondary category of"rhyme","Qi rhyme"not only inherited the life rhythm of"moving"from character evaluation,but also completed the theoretical sublimation of the rhyme from the characters to aesthetics in a preliminary manner.On the whole,as an aesthetic category."rhyme"has experienced the gradual maturity from the rhyme of sound,rhyme of character,to rhyme of aesthetics.Both"expressing rhyme in quietness"in life aesthetics and"expressing rhyme by moving"in art aesthetics resulted from the aesthetic process of"rhyme".
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