论文部分内容阅读
“韵”是中国古典美学的重要范畴。从“韵”语义的历史流变可见，“韵”的传达表现，既强调超迈不俗的内在精神与个性情趣之美，又追求一种淡泊自然、含蓄空灵、意在言外的意境风格表现。“韵”与重神写意理论不同，有着更明确的源自庄、禅的哲学美学基础与文化内涵。“韵”范畴在魏晋和宋代得到推重，从艺术创造和艺术品味两个方面大大深化了古代审美意境和风格理论。“韵”还典型地体现了山水画审美意识和追求，这又为进而考察古典美学具体范畴在不同艺术类型表现上的特殊意义提供了重要的启示。
“Yun” is an important category of Chinese classical aesthetics. From the historical changes of “rhyme” semantics, the expression of “rhyme” not only emphasizes the beauty of super-majestic internal spirit and individual taste, but also pursues a kind of mood-like expression indifferent to nature, subtle and ethereal. “Rhyme” is different from the theory of freehand writing, and has a more definite philosophical foundation of aesthetics and cultural connotation originating from Zhuang and Chan. The category of “rhyme” was respected in the Wei and Jin Dynasties and the Song Dynasty, greatly deepening the ancient aesthetic conception and style theory from the aspects of artistic creation and artistic taste. “Rhyme” also typically reflects the aesthetic consciousness and pursuit of landscape painting, which in turn provides important revelations for further examining the special significance of the specific categories of classical aesthetics in the performance of different art types.