京剧脸谱艺术中“得意忘象”思想的运用及创新性发展研究  

The Application and Innovative Development of the Concept of Forget Self in Pride in Peking Opera Facial Masks

作　　者：魏华 薛明媚 Wei Hua;Xue Mingmei(Zhengzhou University of Light Industry,Zhengzhou,450000,China)

机构地区：[1]郑州轻工业大学,郑州450000

出　　处：《陶瓷》2023年第10期67-69,165,共4页Ceramics

基　　金：2021年河南省高等教育教学改革研究与实践项目(学位与研究生教育)“‘人工智能+文化传承’复合型设计学科研究生培养模式研究与实践”的阶段性成果(项目编号:2021SJGLX112Y);2022年河南省科技厅重点研发与推广(软科学)项目“河南省黄河非物质文化遗产传承与文旅文创融合发展研究”的阶段性成果(项目编号:232400410277)。

摘　　要：“得意忘象”是王弼提出的一个命题,这不仅是一个哲学思想,同样是一个美学命题,为中国艺术中的艺术理论体系提供了思想基础和科学依据。中国京剧脸谱是我国独特的艺术造型,有着自己独有的艺术形式美,它在图形、色彩、造型等呈现方式上,受到我国传统文化特别是民间文化的极大影响,有着丰富的传统美学价值。笔者主要以探究京剧脸谱艺术中所蕴含的王弼“得意忘象”思想,分析这一哲学思想在京剧脸谱的艺术形式与艺术形象间的辩证关系与影响以及探究在“得意忘象”思想下京剧脸谱艺术的创新性发展。Forget Self in Pride"is a proposition put forward by Wang Bi.It is not only a philosophical concept but also an aesthetic proposition,providing ideological and scientific foundations for the theoretical system of art in China.Peking Opera facial masks are a unique art form in China,possessing their own distinctive aesthetic beauty.In terms of graphical representation,color,and form,they are greatly influenced by traditional Chinese culture,especially folk culture,and possess rich traditional aesthetic value.This paper aims to explore the concept of"Forget Self in Pride"inherent in Peking Opera facial masks,analyze the dialectical relationship and influence between this philosophical concept and the artistic form and image of Peking Opera facial masks,and investigate the innovative development of Peking Opera facial mask art under the concept of"Forget Self in Pride.

关 键 词：京剧脸谱 得意忘象 艺术表现 创新性发展 

分 类 号：TQ174.74[化学工程—陶瓷工业]