| 论中国艺术形式的泛音乐倾向 |
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| 引用本文： | 沈亚丹.论中国艺术形式的泛音乐倾向[J].东南大学学报(哲学社会科学版),2004,6(5):78-81,91. |
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| 作者姓名： | 沈亚丹 |
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| 作者单位： | 东南大学,人文学院,江苏,南京,210096 |
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| 基金项目： | 20 0 4年国家社科基金青年项目 ( 0 4CZW0 0 6)中期成果 |
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| 摘 要： | 中国文化历来有乐感文化之称 ,泛音乐化是中国艺术的普遍倾向。自古诗乐同源 ,千余年来诗乐虽分分合合但始终有纠缠之势。建筑因其抽象与和谐而被称为凝固的音乐。绘画是貌似与音乐距离最遥远的艺术 ,对于绘画中音乐性的挖掘 ,最可以揭示出中国艺术的泛音乐化倾向。水墨画这一中国绘画的典型形态 ,正是在阴阳律动、水墨晕章中展开的 ,“气韵”作为中国绘画的核心概念 ,对于音乐的借鉴不言而喻。中国艺术和文化的核心是道 ,道的演化轨迹可以大致归纳为 :“意” -“象” -“数” ,而道在其间不断演化和流转的程 ,无不渗透着音乐精神
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| 关 键 词： | 泛音乐化 道 象 数 和 旋律线 |
| 文章编号： | 1671-511X(2004)05-0078-04 |
| 修稿时间： | 2003年12月30 |
On pan-music tendency of Chinese artistic forms |
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| Abstract: | Chinese culture has been renowned for its sense of music. For hundreds of years poetry and music have been closely related with each other since they had the same origin. Architecture is regarded as solidified music. Even painting the seemingly different art can reflect the music tendency. The charm and rhyme as the essence of Chinese painting are obviously linked with music. The core of Chinese art and culture is Taoism whose development can be concluded as “meaning ——image ——figure”. This course is always infiltrated in music spirit. |
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