宋韵美学的“纯色革命”与宋代“文化重置”——从春晚节目《只此青绿》谈起

The “Revolution of Pure Color” of the Song Aesthetics and the “Cultural Reset” of the Song Dynasty:On Jade Green

比较《只此青绿》与《千手观音》的叙事、舞姿和色彩,可知《只此青绿》放弃叙事而强调色彩。《只此青绿》有唐代六幺舞和《千里江山图》两个原型,其中图像元素占了上风,舞蹈空间被净化为纯色,走向风格化。《只此青绿》之纯色具有非历史性,任何超出青绿色的叙事和联想都为非法。比较唐三彩陶器和天青色瓷器,唐三彩饶于多彩杂糅、斑驳淋漓的丰富美感,天青色宋瓷则经历了“玉辂尚青”之国家改色,获得了玉之纯色品格,并部分取代青铜器作为祭器。此种返回早前玉器时代的礼器重置,赋予天青色瓷器“天”的权威感和秩序感。宋儒提出的跨越汉唐儒学而直接承续思孟之道统说,可以视为宋代的“文化重置”,而天青色作为审美趣味,代表着艺术和美学参与了这一文化重置。天青色的横空出世,揭橥了宋韵美学的“纯色革命”。

Comparing the narrative,dance,and color of Jade Green and Thousand-Hand Bodhisattva,one can see that Jade Green gives up the narrative to highlight its color.The inspiration of Jade Green are the Liuyao dance of the Tang dynasty and the painting A Thousand Li of Rivers and Mountains.The influence of the painting overwhelms in the dance,making it pure color and stylized.The pure color of the dance is non-historical and makes no reference to anything beyond the color jade green.Comparing Tang Sancai with Tianqing ceramics,the former are rich in color and variation,while the color and spirit of the latter drew the admiration of the emperors,making it partially replacing bronze wares as ritual vessels.This change echoed the admiration for jade wares in the ancient times,making Tianqing ceramics symbols of the heaven and order.Song Confucianists proposed a revival of the thoughts of Daotong of Zisi and Mencius,a campaign of “cultural reset” in the Song dynasty,while the color of Tianqing,as an aesthetics,represented this cultural reset in terms of art and aesthetics.The color of Tianqing unveiled the “revolution of pure color” of Song aesthetics.