中世和歌:由“妖艳美”到“平淡美”的审美转向

Japanese poetry of “tangka”:The aesthetic turn from “gorgeous” to “insipid”

日本平安朝后期,从《古今集》到《金叶集》《词花集》的时代,和歌创作同样经历了片面追求'体格声律'的绮靡艳丽的发展阶段。而《新古今集》之后,审美风尚由'词艳'转向'心艳',由'体格声律'转向'兴象风神'。这种转化反映了'幽玄'美学的成熟发展的演变历程,广义的幽玄美以物哀美为基调,妖艳与寂美成为相对的两个极端。此后,浓丽细婉的妖艳美转向清风美、平淡风,绚烂至极归于平淡,最终平淡美衍生出以寂寥枯淡为基调的闲寂美,而妖艳美则在能乐艺术中得到了继承。

Japan’s heian period,from the poetry of'kokinnsyu','sikasyu',and creation also experienced a one-sided pursuit of'the physical significances of'yee not gorgeous stage of development.After the poetry of'sinkokinnsyu',the aesthetic trend changed from'siyan'to'sinnyan',from'the body tone'to'xingxiang fengshen'.This kind of transformation reflects the evolution of the mature development of the aesthetics of'seclusion',and the general seclusion of beauty is the basic tone,and the charm and silence become the opposite extreme.Since then,strong beautiful fine wan enchanting beauty to beauty,is the wind,the wind and cause extremely to insipid,after finally insipid beauty breeds is fundamental key with loneliness is light idle moments of beauty,and enchanting beauty is in the'noraku'of inheritance.