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20世纪30年代,陈寅恪先生审读冯友兰先生《中国哲学史》下册时说:“其真能于思想上自成系统,有所创获者,必须一方面吸收输入外来学说,一方面不忘本民族之地位。此二种相反而适相成之态度,乃道教之真精神,新儒家之旧途径,而二千年吾民族与他民族思想接触史之所昭示者也。”[1]陈先生虽意指思想和学术,但他对文化交融的见解,也适用于观察中国艺术在中西交融中走过的道路。前不久,著名话剧史家田本相先生主编之《中国话剧艺术史》(九
In the 1930s, when Mr. Chen Yinque read the second volume of “History of Chinese Philosophy” by Mr. Feng Youlan, he said: “It can be thought of as a system and a winner, and on the one hand, we must absorb and input foreign theories while not forgetting one’s own nationality The two opposite but appropriate attitude is the true spirit of Taoism, the old way of Neo-Confucianism, and the history of exposure of two thousand ethnic groups to his national thoughts is also evident. ”[1] Mr. Chen Although his ideas and scholarship means his views on the blend of cultures are also applicable to the observation of the path taken by Chinese art in the integration of Chinese and Western cultures. Not long ago, the famous drama historian Mr. Tian Benxiang editor of “Chinese drama art history” (nine