【摘要】：在中國(guó)的文化中,神鬼藝術(shù)自古而生,它作為觀念,因?qū)ι目释?希望能延續(xù)不滅,深深的在民眾思想中扎根,成為民眾思想中根深蒂固的存在物；作為行為,它至今五彩紛呈的呈現(xiàn)在人們的日常生活之中。 法國(guó)史學(xué)家兼批評(píng)家丹納認(rèn)為,世界上的一切事物,無(wú)論物質(zhì)方面的還是精神方面的,都可以解釋?zhuān)灰磺惺挛锏漠a(chǎn)生、發(fā)展、演變及消滅都有規(guī)律可循。相較于華夏文明歷史中的任何一個(gè)年代,先秦的獨(dú)特性在于,唯有在這一時(shí)期,一方面衍生出了中華精神文明強(qiáng)勁的生命源動(dòng)力,另一方面,又帶有著強(qiáng)烈的與現(xiàn)代理性相矛盾的原始思維特征。二者是否存在在一定的關(guān)聯(lián)?如何解釋和看待原始思維下神鬼藝術(shù)的價(jià)值。正是本文研究的目的和初衷所在。 本論文從苦難美學(xué)的角度,研究探討先秦時(shí)期神鬼藝術(shù)的價(jià)值和意義。運(yùn)用文獻(xiàn)法、調(diào)查研究法、觀察法,從藝術(shù)哲學(xué)和藝術(shù)美學(xué)兩個(gè)維度交叉展開(kāi)命題,一方面從對(duì)先秦時(shí)期神鬼藝術(shù)的內(nèi)容和特點(diǎn)的分析去探析苦難美學(xué)的內(nèi)涵。另一方面從苦難美學(xué)的角度研究了神鬼藝術(shù)的價(jià)值。最后進(jìn)一步探討了本命題之于現(xiàn)代藝術(shù)創(chuàng)作的意義。以期通過(guò)本論文的研究和努力為現(xiàn)代藝術(shù)創(chuàng)作尋找新的啟示和可能。
[Abstract]:In Chinese culture, the art of gods and ghosts has been born since ancient times, it as a concept, because of the desire for life, hope can continue, deeply rooted in the people's thought, become a deep-rooted existence in the popular thought; As a behavior, it is present in people's daily life. French historian and critic Dana believes that everything in the world, both material and spiritual, can be explained, and that there are rules for the emergence, development, evolution and elimination of all things. Compared with any other era in the history of Chinese civilization, the uniqueness of the Pre-Qin Dynasty lies in the fact that, on the one hand, it gave rise to the strong source of life of China's spiritual civilization, on the other hand, And with a strong contradiction with modern rationality of the original thinking characteristics. Is there a certain connection between the two? How to explain and treat the value of spirit and ghost art under primitive thinking. It is the purpose and original intention of this paper. From the point of view of suffering aesthetics, this paper studies the value and significance of the art of gods and ghosts in pre-Qin period. By means of literature, investigation and observation, the thesis starts from the two dimensions of art philosophy and art aesthetics. On the one hand, the connotation of suffering aesthetics is analyzed from the analysis of the contents and characteristics of the art of gods and ghosts in the pre-Qin period. On the other hand, it studies the value of the art of god and ghost from the angle of suffering aesthetics. Finally, the significance of this proposition to modern art creation is further discussed. In order to find new inspiration and possibility for modern art creation through the research and efforts of this paper.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：J120.9

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本文編號(hào)：2399327