戏曲理论批评之审美“趣味”论

On the Aesthetic Taste of Traditional Opera Criticism of China

以"味"论"艺"是中国古代文艺理论批评的一个重要的传统特点,但学术界主要对"诗味论"研究较多,而对古代戏曲理论批评中的"味"论涉及甚少。古代戏曲理论批评中的"味"论,主要涉及两个层面的内涵,一是要通俗、有"俚趣",二是要有"境界(意境)"。本文初次从通论角度对中国古代戏曲理论批评中的"味"论及其主要特点,做了一个总体性的论述,旨在分析戏曲理论批评著作中的"味"及"趣"之概念的审美内涵,分析戏曲"趣味"论与其"境界(意境)"论的关系,由此说明中国古代戏曲理论批评家关于戏曲"美感"论的主要观念。

It is one important characteristic of Chinese ancient literature and art criticism that critics expressed their aesthetic feeling in terms of taste (Wei or Quwei). Up to now, The study of 'Wei(taste)' and 'interest(Qu)' in Chinese ancient poetic criticism caused more attention than that in Chinese traditional opera criticism. 'Wei(taste)' and 'Qu(interesting)' has two meanings in opera criticism. One is the meaning of popular sense and vulgar interesting; the other is of the 'aesthetic state (Jingjie or Yijing)'. This paper gives an overall analysis of the features and relations of 'Wei (taste)' and 'Qu (interesting)' theory in Chinese traditional opera criticism, explains the continuous development, and illustrates main concept of Chinese traditional opera aesthetics.