从“雅致”到“新奇”——在继承中发展的李渔造物思想

From “Elegance” to “Novelty”:Li Yu's Thought of Creation

"雅"根植于绵延数千年的中华传统文化。从《诗经》到《论语》,屡屡出现如"雅道"、?"雅致"、?"雅业"、"雅趣"等审美命题。"雅"多用于描写和介绍文人,形容他们的清高风雅,因此极具文化的内隐性与象征意义。"雅致"即典雅精致,是中国古代上层文化、精英文化的代名词。时至明清,传统的文人士大夫仍然固守在雅致的世界中,大有"唯古雅是从"的倾向,而李渔却适时地挣脱出来,以雅致入理为追求,在"新奇"的道路上不断实践和探索,于是形成了一种雅俗共赏的造物美学思想。

＂Elegance＂ has been rooted in the traditional Chinese culture for thousands of years. It is present in the Book of Songs and the Analects of Confucius with aesthetic propositions such as ＂Yadao＂ （elegant methods）, ＂Yazhi＂（ elegant and delicate）, ＂Yaye＂ （the industry of verse）, ＂Yaqu＂ （a sense of elegant humor）. ＂Elegance＂ is often used to describe the literati and upper culture. Until the Ming and Qing Dynasties, the traditional literati class still clung to the elegant world with classic beauty and elegant taste, but Li Yu duly explored and chased the road of ＂novelty＂ at the base of theory of elegant, and formed a set of creation aesthetics for both common people and the literati.