论崇高在中国古典艺术中的嬗变

Transmutation of Sublimity in Chinese Classical Art

崇高作为美学风格之一,在中国古典艺术中有着独特的表现形态,经历了萌芽、形成、发展和式微四个阶段。崇高萌芽于原始社会晚期,处于混沌未分的状态,兼有功利与审美的特性;正式形成于中国青铜时代,在秦汉大一统王朝产生明显转向:在艺术领域呈现出对人的勋业的肯定和赞美。在理论上,先秦的孟子对人的内在德性予以讴歌和肯定,这一理论在宋明理学中得到强化,在明初走向僵化,严重制约了艺术创作的个性和创造性。明朝中叶以来,文禁松弛,至心学盛行,"童心"说大行其道,艺术的各门类涌动着浪漫主义思潮,表现市井社会人情世态的市民艺术蔚为大观。至此,崇高作为一种美学风格,全面溃退,走向没落。

As one of aesthetic styles, sublimity shows unique pattern in Chinese classical art, and has experienced the embryonic, formative, developmental and falling stages. Sublimity in chaotic state sprouted in the late primitive society. It had the characteristics of atility and aesthetics. Sublimity took shape at the Age of Copper, and then it obviously changed directions in Qin and Han Dynasties： praising great achievements and success of human beings in the field of arts. In terms of theory, Mencius in the pre- Qin Dynasty admired inner human virtue, moreover, it was strengthened by Neo-Confucianism in Song and Ming Dynasties but later it became rigid. As a result of the rigidness, art creativity and personality were seriously restricted. From the middle period of Ming Dynasty, cultural limitation was reduced and Mind Study prevailed. Under their influence, romantic thoughts activated in all respects of arts, which resulted in great popularity of the ways of the world and the citizen＇s arts. So up to this point, sublimity, as an aesthetic style, collapsed in a complete way.