【摘要】：劉熙載的藝術思想富有中國古典美學的終極意味，其《藝概》對文、詩、賦、詞曲、書、經(jīng)義等體裁予以了歷史分析和理論總結(jié)。史論結(jié)合使它既是一部分體藝術概論，又是一部分體藝術史論。他繼承中國傳統(tǒng)文論對作家作品的評點式方法，采取札記形式分條評述，對藝術史上的有影響的作家?guī)缀醵加性u論，并遵循《文心雕龍》“原始以表末，釋名以章義，選文以定篇，敷理以舉統(tǒng)”的原則。在清晰的“史”的背景下，這部談“藝”的著作分門別類地縷述藝術的源頭與演變過程；按時間順序以名作或代表性作品為分析對象，多有深刻獨到的判斷；總結(jié)各門藝術的特點、技法、規(guī)律及當下啟示，亦重視藝術的相通之處與旨歸，貫穿其對中國傳統(tǒng)藝術精神的心得體會。 關于劉熙載藝術觀的研究，學者較多地是研究其藝術理論，尤其是其中的藝術辯證法思想。當然，這也是整體性把握劉熙載藝術思想的一條很好的途徑，，但以辯證方式為途徑研究他的藝術史理論的相關成果尚很少見。本文將立足《藝概》史論結(jié)合特點，以二元矛盾演繹的方式，探索劉熙載構建藝術史的理論認識。通過選取劉熙載藝術理論中“經(jīng)”與“藝”、“品”與“趣”、“正”與“變”、“厚”與“清”這些對應的范疇，對它們作時代、文化、學術以及職業(yè)、心理、趣尚等方面的闡釋。由深入解析這些二元矛盾，從而探索劉熙載藝術史理論的外在背景與內(nèi)在理路、宏觀統(tǒng)括與微觀品味，并總結(jié)其“通道必簡”的藝術史認識及寫作方法，深化認識傳統(tǒng)藝術史理論值得當代借鑒的一些優(yōu)秀傳統(tǒng)。
[Abstract]:Liu Xizai's artistic thought is full of the ultimate meaning of Chinese classical aesthetics. His Art outline gives a historical analysis and theoretical summary of the genres of text, poetry, Fu, ci and qu, books, classics and so on. The combination of historical theory makes it not only an introduction to physical art, but also a part of historical theory of physical art. He inherited the critical method of Chinese traditional literary theory on writers' works, commented on them in the form of reading notes, commented on almost all influential writers in the history of art, and followed the principle of "Wen Xin Diao long", "the original is based on the end of the table, the name of interpretation is based on the meaning of the chapter, the selected text is determined by the article, and the arrangement is based on the unity". Under the background of clear "history", this book talks about the origin and evolution of art in different categories; takes famous works or representative works as the object of analysis in chronological order, and has profound and unique judgment; summarizes the characteristics, techniques, laws and current enlightenment of each art, and also attaches importance to the similarities and purport of art, which runs through its experience in the spirit of Chinese traditional art. With regard to the study of Liu Xizai's view of art, scholars mostly study his artistic theory, especially his thought of artistic dialectics. Of course, this is also a good way to grasp Liu Xizai's artistic thought as a whole, but it is rare to study his theory of art history in a dialectical way. Based on the characteristics of the theory of art history, this paper explores Liu Xizai's theoretical understanding of the construction of art history in the way of dualistic contradiction deduction. By selecting the corresponding categories of "Jing" and "Art", "Pin" and "interest", "Zheng" and "change", "thick" and "Qing" in Liu Xizai's art theory, this paper interprets them from the aspects of times, culture, academic, occupation, psychology, interest and so on. By deeply analyzing these dual contradictions, this paper explores the external background and internal reason of Liu Xizai's theory of art history, macroscopical omnibus and micro taste, and sums up the understanding and writing method of art history of "channel must be simplified", and deepens the understanding of some excellent traditions of traditional art history theory worthy of contemporary reference.
【學位授予單位】：安徽師范大學
【學位級別】：碩士
【學位授予年份】：2006
【分類號】：J120.9

【引證文獻】

相關碩士學位論文 前1條

1 白靜;劉熙載詩學理論研究[D];安徽師范大學;2011年

本文編號：2508002