论文部分内容阅读
一中国戏曲是中国民族文化的载体。因此,对中国戏曲的解释,除了肯定它具有艺术的审美价值外,还应将它纳入历史学、社会学、人类学和哲学的范畴,绝不能把它从民族意识整体中人为地分离出来。英国美学家贡布里希说过:“一切艺术都源出于人类的心灵,出自我们对世界的反应,而非出自可视世界本身。”(贡布里希“论艺术再现”《美术译丛》1985年第一期)从文艺创作心理学上去分析,戏曲的发展流变,从本体上是一种“双方逆反运动”。即主体与客体(艺术与现实)相互观照,积极参与,使得主体客观化,客体主观化,也即用艺术的真实反映生活的真实,作出
A Chinese opera is the carrier of Chinese national culture. Therefore, in addition to affirming that it has the aesthetic value of art, the interpretation of Chinese opera should be included in the fields of history, sociology, anthropology and philosophy, and it must never be artificially separated from the whole national consciousness. The British aestheist, Gombrich, said: “All art comes from the human mind, from our reaction to the world, not from the visual world itself.” (Gombrich’s “Art Reproduction” Art Translation Plexus “1985 the first period) from psychology of literary and artistic creation to analyze, the development of drama change, from the ontology is a” reversal of both. " That the subject and the object (art and reality) mutual witness, active participation, making the subject of objectification, subjectivity of the object, that is, with the true art of life reflects the real, made