从戏剧范式看中西艺术审美精神的差异--以青春版《牡丹亭》和音乐剧《猫》为例

中西文化和内在精神的差异带来了相应的艺术形式和审美类型的差异。作为历史悠久且最具代表性的艺术样式之一——戏剧,分别代表着中西方各自深层的文化品格和审美理想。在大众文化日益兴起的当下情境中,戏剧尤其是中国传统戏剧经历数百年的传承还保有着独特的艺术样式和审美品格。戏剧作为中西艺术分析的一个文本参照和范式比较的切入点,对这种艺术类型进行认真细致的考量和比照,从而分析出中西艺术潜在的差异,对于更好的理解中国传统艺术精神提供更多的理论佐证。本文以中西戏剧艺术的具体文本为参照,从实际的戏剧作品青春版《牡丹亭》和音乐剧《猫》入手,对显在的艺术内容和形式进行尝试性分析,进而得出些中西艺术内在的深层次差异,从而使我们深化对中西艺术理念的理解,作为窥见以人为审美主体的中西文化创作者在审美精神上的差异。

审美信仰与理论思辨:新文科建设背景下的艺术学理论学科建设思考

艺术学理论学科正式升门已有十年,一直在不断争议之中努力坚持和捍卫自己的学科地位,试图更好地实现在艺术门类之中带动、促进艺术一大门类之全学科发展的引领作用。新文科建设的召唤给予了艺术学理论学科拓展和坚实确立自身地位的极大动力。当前新文科建设背景下的艺术学理论必须高瞻远瞩,并且坚守自己的学科领域、继而强化自身在艺术学学科中最核心的学术价值,这其实也是艺术审美精神价值的倡导。尤其是对审美信仰的强化,在面对时代的发展、社会的变迁中,已经变得尤为必要、刻不容缓。重新总结并且构筑新文科建设背景下艺术学理论学科自身所具有的构架、方略,以及对于艺术学学科自身对外濡染、对内接受两者之间所必须的理论解说和逻辑的设置,是艺术学理论学科发展中重要的时代命题。这一问题的妥善处理和学术体系完善壮大,最终将会使艺术学理论学科扎实地站立于整个艺术学学科之中,这当然也包括了技能技巧领域,并由此建立起艺术学各门类学科建设发展之间稳妥而富有张力的相互关系。

谈“画家”与“技巧”

文章概括地论述了画家与他所掌握的绘画技巧的辩证关系 ,以此证明画家单凭技巧是不能创作出真正的艺术作品来的 ,只有当画家的技巧服务于画家向人们显示人的审美经验这一目的时 ,才能创作出真正的艺术作品 ;然而 ,没有一定程度的绘画技巧 ,同样也不能产生出艺术作品。

The ＂Sacred Marriage＂ of Beauty and Eros and Its Anthropological Condition

Art composed of categories of the scale of beauty transmutes the aesthetic into eroticism, such that as an element of life it may be displayed as a love relationship between beauty and eros, the knowledge of which is referenced as early as Plato＇s philosophical contemplations. Plato characterizes eros in the Symposium and the Phaedrus as an invincible psychic force, capable, taking into account the fallibility of man, of compelling him toward the acquisition of that which will entail his completion. Eros, considered thusly, contributes to human ontogeny. Plotinus, who experiences beauty as eros and terror accompanied by pleasure, to the same degree will characterize it as the outcome and consequence of an intellectually and morally superior human soul. By this definition, the greatness of art lies in the fact that it compels the souls of men to eros for its spiritual content, the true nature of a work of art being the idea. As such, as long as it is not easy to know if this beauty exists as an ontologically, gnoseologically, and aesthetically idealized entity, so much the more we consider that we cannot entirely prove Freud＇s erotic theory of primordial and desirable phantasms, which seems to differ only slightly from the Platonic theory, or from Jung＇s theory of archetypes, as it seems not to recognize to an appropriate degree individual human experience. On the contrary and in agreement with the Lacanian theory on eros, in the environment of which eros is directed towards the other, so like it, it emerges in the life of the other, rupturing and reformulating it, we consider that each of us, in reality, in the erotic phenomenon, meets the other, and, behind him, our own self, which, enchanted by all that we sense that the other represents, rates all his characteristics as charmingly beautiful, because they have the privilege of coinciding, or at least of converging towards the aesthetic, entirely unique foundation of our self.

Thinking about the piano art aesthetics

In recent years, with the continuous development of social economy, people＇s spiritual and cultural demand has been further improved The piano art more attention with the development of times, at the same time, the piano art＇s aesthetic value is the more worth people to think. In this paper, the aesthetic value and aesthetic principles of piano art and so on has carried on the brief analysis.

五彩画笔下的滇西世界:李霖灿云南游记解读

李霖灿把中国艺术审美精神,较为完美地融入滇西游记创作中。这些作品还表现了对于理想人格的追求,对于不幸底层人民的巨大悲悯,以及对黑暗丑恶现象的猛烈挞伐。李霖灿的滇西游记,丰富了云南乃至整个现代游记的书写,值得深入解读。