本文選題：空白 + 潛范疇�。� 參考：《曲阜師范大學(xué)》2008年碩士論文

【摘要】： “空白”是由西方首先提出的一個(gè)文藝?yán)碚摳拍?但是它也早就引起了中國(guó)古人的注意,他們一直高度肯定“空白”的美學(xué)價(jià)值和意義,縱觀我國(guó)古典美學(xué)的整個(gè)歷程,深深植根于古典哲學(xué)的“空白”已經(jīng)上升到一個(gè)重要的審美范疇的意義層面了,由于沒有正式提出過,我們叫它潛范疇。 “空白”潛范疇在中國(guó)古典美學(xué)中處于十分重要的地位,它是藝術(shù)不可或缺的組成部分,是藝術(shù)的肯綮和機(jī)竅,也是我們美學(xué)中最獨(dú)特、最精華的部分。它植根于中國(guó)哲學(xué),在中國(guó)古典美學(xué)中有著特殊的表現(xiàn),它的內(nèi)涵極其豐富,虛、空、無(wú)等其實(shí)是這個(gè)潛范疇的顯性表現(xiàn)形態(tài)。從橫向來(lái)看,它在我國(guó)古典美學(xué)的幾乎各個(gè)領(lǐng)域都有深刻的影響;從縱向來(lái)看,它貫穿于中國(guó)古典美學(xué)的整個(gè)歷程。它既是一種審美境界的追求,還是一種人生境界的追求。 粗略地來(lái)看一下它的發(fā)展歷史分期:先秦兩漢是前期,先秦哲學(xué)關(guān)于有無(wú)、虛實(shí)、陰陽(yáng)等的論辯,其目的很少直指藝術(shù),卻不期然中影響并左右了后世中國(guó)“空白”潛范疇思想體系的確立和審美特征的形成;魏晉南北朝至唐中葉是中期,受玄學(xué)的影響,“空白”潛范疇由哲學(xué)領(lǐng)域逐漸向人生及藝術(shù)的各個(gè)領(lǐng)域滲透,“空白”潛范疇已有意識(shí)地被納入社會(huì)文化審美視野,直接影響了當(dāng)時(shí)的書法、音樂、繪畫的創(chuàng)作及理論總結(jié);隋唐時(shí)期還伴隨著意境理論的成熟更加鞏固了前期的成果;唐中葉以后至明清是后期,“空白”潛范疇走向了空前的興盛,并使山水畫藝術(shù)超過其它門類在宋元時(shí)期達(dá)到了頂峰,到了明清時(shí)期“空白”潛范疇則進(jìn)一步深化,主要表現(xiàn)為它在許多藝術(shù)部門都得到了廣泛深入的運(yùn)用,尤其是在戲劇和園林建設(shè)中。應(yīng)該說,在整個(gè)發(fā)展歷程中,“空白”潛范疇一直以一種虛靈的心境在自然外物和人的精神自由之間搭起了一座審美的橋梁。它追求的不是外在的言辭,而是一種與宇宙生命深層的契合。 隨著時(shí)代的進(jìn)展,人們對(duì)“空白”潛范疇的審美特征也有了更加深刻全面的認(rèn)識(shí),它既是藝術(shù)創(chuàng)作追求的美學(xué)境界,其中創(chuàng)作主體心靈的虛空是不可或缺的前提條件,同時(shí)也是欣賞接受追求的重要內(nèi)容,它不僅能夠喚起審美主體積極的審美鑒賞,還能誘發(fā)審美主體的審美再創(chuàng)造。此外,它的審美特征也得到了不斷的豐富,它具有很強(qiáng)的哲學(xué)思辯性,它一直鐘情于自然,它始終伴有濃郁的感情,它追求空靜淡遠(yuǎn)美,韻味十足。
[Abstract]:"blankness" is a concept of literary and artistic theory first put forward by the West, but it has long attracted the attention of the ancient Chinese. They have always highly affirmed the aesthetic value and significance of "blank", and have taken a broad view of the whole course of classical aesthetics in China. Deeply rooted in the "blank" of classical philosophy, it has risen to the meaning of an important aesthetic category. The latent category of "blank" plays a very important role in Chinese classical aesthetics. It is an indispensable part of art, a key point of art, and the most unique and essential part of our aesthetics. It is rooted in Chinese philosophy and has a special expression in Chinese classical aesthetics. Its intension is extremely rich, empty, and so on, in fact, it is the dominant manifestation of this latent category. From the horizontal point of view, it has a profound influence in almost every field of Chinese classical aesthetics, and it runs through the whole course of Chinese classical aesthetics from the vertical point of view. It is not only the pursuit of an aesthetic realm, but also the pursuit of a realm of life. Take a rough look at the historical stages of its development: the pre-Qin and Han dynasties were the early stage, and the pre-Qin philosophy was rarely directed to art in terms of whether there was something, whether it was empty or not, Yin and Yang, and so on. However, it influenced and controlled the establishment of the latent category system and the formation of aesthetic characteristics of the "blank" category in later China. The period from the Wei, Jin and the Southern and Northern dynasties to the middle of the Tang Dynasty was the middle period, and was influenced by metaphysics. The latent category of "blank" has gradually infiltrated into various fields of life and art from the field of philosophy. The category of "blank" has been consciously brought into the aesthetic view of social culture, which directly affected the creation and theoretical summary of calligraphy, music and painting at that time. During the Sui and Tang dynasties, with the maturity of the artistic conception theory, the early achievements were further consolidated. From the middle of Tang Dynasty to the late Ming and Qing dynasties, the latent category of "blank" became more prosperous than ever. In addition, the landscape painting art reached its peak in the Song and Yuan dynasties, and the latent category of "blank" in the Ming and Qing dynasties was further deepened, mainly because it was widely and deeply used in many art departments. Especially in drama and garden construction. It should be said that in the whole course of development, the latent category of "blank" has been an aesthetic bridge between natural objects and human spiritual freedom. It seeks not external words, but a deep-fitting with the life of the universe. With the development of the times, people have a deeper and more comprehensive understanding of the aesthetic characteristics of the latent category of "blank", which is not only the aesthetic realm pursued by artistic creation, but also the essential prerequisite of the creation subject's mind. At the same time, it is also an important content of appreciation and acceptance, which can not only arouse the positive aesthetic appreciation of the aesthetic subject, but also induce the aesthetic re-creation of the aesthetic subject. In addition, its aesthetic characteristics have been constantly enriched, it has a strong philosophical thinking, it has always loved nature, it has always been accompanied by strong feelings, it pursues quiet and distant beauty, full of charm.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：I01

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