明清戏曲审美风格理论的总体态势

General features of the dramatic aesthetic style-theory of the Ming Dynasty and the Qing Dynasty

明清戏曲审美风格理论中总体上贯穿着两种审美观念:一是诗论色彩较浓,侧重于华丽美意义的观念;二是剧论色彩较浓,侧重于素朴美意义上的观念。两种审美观念的冲荡融合激发出明清戏曲风格理论中包含了尽可能多的"真理的颗粒"的思想见解,即以汤显祖、吕天成、王骥德、李渔等人为代表,对素朴美、华丽美这两种最基本的审美风格的同时肯定,以及对两者相辅相成、相互依存并互相融通的审美理想的倡扬。明清戏曲审美风格理论的发展态势,在戏曲雅俗的种种讨论中也得到深入表现。

Generally speaking, there were two aesthetic attitudes in the dramatic aesthetic theory of the Ming Dynasty and the Qing Dynasty： the magnificence of poetry theory and the simplicity of drama theory. The contradictions and the combination of these two theories decided the features of the dramatic aesthetic theory of the Ming Dynasty and the Qing dynasty. There were many famous dramatists who affirmed the co - existence, dependence and harmony of magnificence and simplicity, such as Tang Xianzu, Lu Tiancheng, Wang Jide and Li Yu. We can also find the features of the dramatic aesthetic style - theory in the different discussions on dramatic refinement and dramatic popularity.