【摘要】： 中國傳統(tǒng)的文學(xué)批評(píng)、藝術(shù)批評(píng)有著為西方文藝批評(píng)所不能替代的獨(dú)特價(jià)值。雖然在系統(tǒng)性和嚴(yán)密性方面遜于西方文藝批評(píng),但它們所具有的以切身的創(chuàng)作經(jīng)驗(yàn)為依據(jù)的批評(píng)態(tài)度,從形象到形象的批評(píng)方式,無疑更加貼近藝術(shù)的本質(zhì),在今天依然具有不可忽視的意義。 關(guān)于傳統(tǒng)藝術(shù)批評(píng)各門類的各別研究,已經(jīng)進(jìn)行得十分深入。但把傳統(tǒng)藝術(shù)批評(píng)作為一個(gè)整體,作為一種有別于傳統(tǒng)文學(xué)批評(píng),有別于西方藝術(shù)批評(píng)的現(xiàn)象來進(jìn)行研究,還顯得十分不足,至少目前還沒有一本《中國藝術(shù)批評(píng)史》。這就需要我們從宏觀的角度來審視傳統(tǒng)藝術(shù)批評(píng),在分析、整理的基礎(chǔ)上尋繹其總體特征,并揭示其在現(xiàn)代語境里的意義。 本文以魏晉南北朝藝術(shù)批評(píng)為研究對(duì)象,并希望以此為起點(diǎn)展開對(duì)中國藝術(shù)批評(píng)史的研究。本文首先從魏晉南北朝藝術(shù)批評(píng)的實(shí)踐基礎(chǔ)、思想準(zhǔn)備和產(chǎn)生契機(jī)三個(gè)方面分析其產(chǎn)生的原因;其次分別論述了音樂批評(píng)、繪畫批評(píng)和書法批評(píng)的發(fā)展過程,從“批評(píng)”的角度來分析和評(píng)價(jià)藝術(shù)批評(píng)文本,指出它們所使用的批評(píng)標(biāo)準(zhǔn)、批評(píng)概念、批評(píng)方式和批評(píng)手段;最后,在各門類藝術(shù)批評(píng)之間以及文學(xué)批評(píng)與藝術(shù)批評(píng)之間展開比較,并對(duì)魏晉南北朝藝術(shù)批評(píng)的價(jià)值和意義給予總體上的評(píng)價(jià)。
[Abstract]:Chinese traditional literary criticism and artistic criticism have unique value which cannot be replaced by western literary criticism. Although they are inferior to western literary criticism in terms of systematicness and strictness, their critical attitudes, which are based on their personal creative experience, are undoubtedly closer to the essence of art, from the image to the image. It is still of great significance today. The research on different categories of traditional art criticism has been carried out deeply. However, it is not enough to study the traditional art criticism as a whole, as a phenomenon different from the traditional literary criticism and different from the western art criticism, at least there is no "History of Chinese Art criticism" at present. This requires us to examine the traditional art criticism from a macro perspective, to find out its general characteristics on the basis of analysis and arrangement, and to reveal its significance in the modern context. This paper takes the art criticism of Wei, Jin and Southern and Northern dynasties as the research object, and hopes to start the research on the history of Chinese art criticism. Firstly, this paper analyzes the reasons of the artistic criticism from three aspects: the practical basis, the ideological preparation and the opportunity of the artistic criticism in the Wei, Jin and the Southern and Northern dynasties. Secondly, it discusses the development process of music criticism, painting criticism and calligraphy criticism, analyzes and evaluates the artistic criticism texts from the perspective of "criticism", and points out the criticism standards, concepts, ways and means of criticism used by them. Finally, it compares the artistic criticism of various categories and between literary criticism and artistic criticism, and gives an overall evaluation of the value and significance of artistic criticism in Wei, Jin, Southern and Northern dynasties.
【學(xué)位授予單位】：東南大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2005
【分類號(hào)】：J120.9

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前2條

1 朱秀敏;建安散文研究[D];山東師范大學(xué);2011年

2 楊濤;東晉“新體”書法成因研究[D];中國藝術(shù)研究院;2010年

相關(guān)碩士學(xué)位論文 前2條

1 劉曉輝;六朝畫論批評(píng)方式研究[D];河北大學(xué);2011年

2 劉元;論“味”[D];青海師范大學(xué);2012年

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本文編號(hào)：2321433