以雅融俗 传神写意——从三国戏看元杂剧的人物美学特征

Aesthetic Characterization in the Yuan Poetic Drama As Is Seen in the Plays of The Three Kingdoms

元杂剧三国戏的人物形象塑造中寄寓着元代士人的独特文化心理与人物美学理想。元剧家通过以雅融俗的思维方式和智能化、儒士化、道士化等理想化重寻途径,使笔下三国人物较之“说三分”及《三国志平话》增加了雅化的色彩,更多了写意的成分,形成绘形、传神、达意三位一体的人物美学特征,显示出特有的时代文化意蕴与超时空的审美价值。从中可管窥元杂剧乃至中国传统戏曲的人物美学特征,对当今的戏剧及影视创作亦有借鉴意义。

The characterization of The Three Kingdoms plays in the Yuan poetic drama represents the particular cultural psychology of the Yuan scholars and the aesthetic ideal of dramatic characterization. The playwrights tried to achieve the harmony between elegance and commonplace by idealizing their characters as intellectuals, scholars and monks, adding elegance and expressiveness to the original story telling, thus making possible the triat of image, spirit, and meaningfulness which is a special feature not only of the Yuan poetic drama but also of all Chinese traditional plays.