“淡美”论

发布时间：2018-03-13 15:39

  本文选题：淡　切入点：淡美　出处：《南京艺术学院》2016年博士论文　论文类型：学位论文

【摘要】：以“淡”为美,是中国传统艺术美学中一个值得关注的现象。从“淡”的主要哲学源头来看,道家的“淡”论既指“道”的特征“无味”,又指体道的方式“无为”,还指得道的境界“不与物交”、“游心于淡”。“淡美”理论相应地包括风格之淡,创作方式之淡和审美境界之淡。同时,儒家的“大羹遗味”说与周易的“白贲无咎”说亦对“淡美”理论有深刻影响。魏晋六朝时期是“淡”由哲学概念向美学概念转变的时期,此时“淡”沿用本义,是一种贬抑的艺术批评。“淡美”理论的正式展开是从中唐时期开始。首先在风格论上,一方面有以儒家“大羹遗味”说为理论依托的主寄托之“淡”,另一方面有以道家、周易“白贲”为理论依托,并受到佛教思想催化的主含蓄之“淡”。宋代苏轼以“外枯中膏”的“淡”说综合了二者,使“平淡”成为宋代的流行风格。其次在创作论上,中唐开始在创作上注重主体的主观能动性,视主体的自由表达为创作的前提,但同时亦视技艺为质量的保证。宋代苏轼借助自己诗文领域内的优势,以“能事毕矣反造疏淡”的理论,在书画领域内推行“平淡”高于“精能”的批评标准,经由米芾“平淡天真”理论的造势,为文人画的兴盛提供了理论基础。再次在境界论上,中唐开始由王维创作、司空图总结的“冲淡”的诗境,在宋代由于理学兴起而获得回应。黄庭坚将“平淡”置于“险怪”之上,元代倪瓒的创作将“淡美”理论与高雅的人格修养联系在一起。明清“淡美”理论因董其昌和王士祯得到了总结和完善,但同时也因落入技法层面而失去了境界论的意义。本文以“风格论”、“创作论”、“境界论”为框架,考察“淡美”理论的不同侧面,同时结合不同时期的思想史和文化史背景,追踪“淡美”理论的发展轨迹,以期较为立体和全面地展现“淡美”理论的丰富性。
[Abstract]:Taking "light" as beauty is a phenomenon worthy of attention in Chinese traditional art aesthetics. From the point of view of the main philosophical source of "light", The "light" theory of Taoism not only refers to the characteristics of "Tao" "tasteless", but also refers to the way of "doing nothing", but also refers to the realm of "not interacting with things" and "wandering the mind to the light". The theory of "light beauty" correspondingly includes the light of style. At the same time, The Confucian theory of "big soup left behind" and Zhou Yi's theory of "Bai Ben without fault" also had a profound influence on the theory of "light beauty". The Wei, Jin and six dynasties period was the period when "light" changed from philosophical concept to aesthetic concept, and "light" followed its original meaning. It is a derogatory art criticism. The formal development of the theory of "light beauty" began in the mid-Tang Dynasty. First of all, in terms of style, on the one hand there is "light" on the one hand, relying on the Confucian theory of "big soup" as the theoretical basis; on the other hand, there are Taoists. Bai Ben, based on the theory of Zhou Yi, was the main implicit "light" catalyzed by Buddhist thought. Su Shi's theory of "light" in the Song Dynasty combined the two theories, which made "plain" become the popular style of the Song Dynasty. Secondly, in the theory of creation, Su Shi's theory of "light" made it a popular style in the Song Dynasty. In the middle Tang Dynasty, the subjective initiative of the subject was emphasized, and the free expression of the subject was regarded as the premise of creation, but at the same time, the skill was regarded as the guarantee of quality. Based on the theory of "doing what can be done and creating and thinning", the criticism standard of "bland" is higher than that of "fine energy" in the field of calligraphy and painting, and through the momentum of Mi Fu's theory of "bland innocence", It provided the theoretical basis for the prosperity of literati painting. Again in the realm theory, the mid-Tang Dynasty began to create by Wang Wei, summed up the "dilute" poetic environment, In the Song Dynasty, due to the rise of Neo-Confucianism, Huang Tingjian put "bland" above "dangerous monster". The creation of Ni Zan in Yuan Dynasty connected the theory of "light beauty" with elegant personality cultivation. The theory of "light beauty" in Ming and Qing dynasties was summed up and perfected by Dong Qichang and Wang Shizhen. But at the same time, it also lost the meaning of the realm theory because of falling into the level of technique. This article takes "style theory", "creation theory", "realm theory" as the frame, examines the different aspects of "light beauty" theory, at the same time unifies the thought history and the cultural history background of different periods. To trace the development of the theory of "light beauty" in order to show the richness of the theory of "light beauty" in a stereoscopic and comprehensive way.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J01
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本文编号：1607027