间性审美风格与晚明文学现代性

Interality Aesthetic Style and Literary Modernity in Late Ming Dynasty

晚明中国,作为载道文体的诗歌由宰制文学中心地位的滑落表明,传奇、小说等通俗文体业已勃然兴起。通俗文体不仅依托晚明蓬勃的消费文化广泛播散,而且,晚明文士将通俗文体抬举至与诗歌等量齐观之境,此种"以浮华代自制"正表现出颓废风格的原始之义。同构于晚明颓废的社会审美风格,以描写世情为主的传奇、小说等通俗文体,因晚明情欲社会的表达需要,其作为文人文化的表征亦使用音乐、绘画等多种审美形式,表现出具有间性之美的颓废文学审美风格。此种间性审美风格不断挑战宋明宰制儒家所标举的崇高审美风格传统,在文人文化的形式之美的极致性追求中,表现出晚明中国人与文的审美自觉,以及中国"生活美学"新的实践可能。

The decline of Chinese poetry as a dominant moral-teaching literary genre in the late Ming Dynasty indicates that popular literary styles such as Chuanqi Drama and novels were rising to prominence. The popular styleswere not only widely spread with the flourishing consumer culture in the late Ming Dynasty but also elevated by scholars to rank with poetry. The replacement of self-restraint by ostentation happens to reveal the original meaning of the decadent style. Isomorphic to the social aesthetic style in the late Ming Dynasty, popular literary styles like Chuanqi Drama and novels, which mainly focus on worldly affairs, also appear in music and paintings as a manifestation of the literati cul. ture in response to the expression need of the lustful society in the late Ming Dynasty and exhibit the aesthetic style of decadent literature with interality beauty. Constantly challenging the lofty aesthetic style of the Song and Ming dynasties, this interality aesthetic style shows the aesthetic consciousness of man and literature in the late Ming Dynasty preoccupied with the pursuit of formal beauty in literati cul. ture and indicates a new practice possibility for Chinese life aesthetics.