摘要
韵与味是中国美学中的两个重要范畴。韵关乎听觉,味觉是一种综合性的感觉。在中国古人的认知中,味觉更具基础性。“韵”与“味”常常并称,把它们紧密联系在一起的,是“气”。味、色、声,皆为气的发散与征兆。气、风、神、情、意等,皆偏重于“神”的一面,也就是事物呈现出的虚灵性和本质性的一面。它们与“韵”和“味”的组合,以及“韵味”本身,皆成为中国文艺评论的核心范畴,成为把握对象的审美意趣和内在精神的关键概念。六朝时期,“韵”与“味”进入了审美领域,成为审美范畴。韵和味作为事物的审美特质,为中国古代社会各阶层普遍崇尚,无论文人士大夫还是民间百姓,在进行审美欣赏时,都注重韵和味。在当代,视觉文化雄霸天下,审美感官独尊视觉。外在的形式之美被放大了,内在的韵味则不可避免地衰退与消解。在今日谈论所谓的中华美学精神之时,如何为传统艺术的韵和味留一些空间,成为不得不面对的问题。
Yun and Wei are two important categories in Chinese aesthetics. Yun is an integrated sense that is related to senses of auditory and taste. Chinese ancient people thought the gustation is a fundamental sense. Yun and Wei are often mentioned together and it is Qi that relates them closely. Taste, color and sound are the interpretations of Qi. Qi, Feng, Shen, Qing and Yi are all pertinent to Shen which means the intangible and essential parts of the things. When these five elements are combined with Yun and Wei, and Yun - wei itself, they become core categories in Chinese literary and art criticism and the key concepts in grasping the internal spirit of the aesthetic objects. Yun and Wei became the aesthetic categories in the aesthetics in Six Dynasties. As aesthetic particularity of things, Yun and Wei were widely advocated by all levels of the society. No matter scholar, bureaucrats or common people, they all appreciated Yun and Wei when they engage with the aesthetic practice. At present, visual culture has dominated the world and the aesthetic senses favor vision. The external beauty of the form is exaggerated while the internal Yun - Wei is fading and degraded unavoidably. When we talk about the spirit of Chinese aesthetics, we have to think about the question of how to allow some space for Yun and Wei of traditional culture.
出处
《民族艺术研究》
CSSCI
2016年第4期12-19,共8页
Ethnic Art Studies
关键词
中国传统艺术
审美特质
韵
味
气
淡
Chinese traditional arts, aesthetic particularity, Yun, Wei, Qi, Dan