基于审美角度论藏族舞蹈的动作语言

覃有媛(Youyuan Qin) YIXIN 출판사 2024 Journal of Humanities and Social Sciences Vol.2 No.3

In history, every ethnic group has created a complete set of artistic expressions that reflect national life, thoughts and emotions, and have certain aesthetic characteristics in their social life. As an important component of Chinese ethnic minorities, the Tibetan ethnic group occupies an important position in ethnic folk dance with its unique dance style and rich dance characteristics. The aesthetic characteristics, aesthetic values, and cultural connotations contained in its dance action vocabulary are also worthy of our research and in-depth exploration. Therefore, this article will comprehensively discuss the aesthetics and aesthetic value of Tibetan dance from an aesthetic perspective, based on the rules of Tibetan dance movements and the stylization of action vocabulary, combined with the historical, cultural, and stage practice works of the Tibetan nation. Intended to highlight the charm of Tibetan traditional culture through in-depth exploration of the aesthetics of Tibetan dance, it is also beneficial for us to better inherit Tibetan culture and promote the innovative development of Tibetan dance. 历史上每一个民族都在他们的社会生活中创造了一整套反映民族生活、思想情感并具备一定审美特征的艺术表现形式。而藏族作为中国少数民族的重要组成部分,则以它特有的舞蹈风格、浓郁的舞蹈特色在少数民族民间舞蹈中占有重要的一席之地,其舞蹈动作语汇中蕴含的审美特征、审美价值、文化内涵也是值得我们研究及深度挖掘的。所以本文将基于审美角度,根据藏族舞蹈动作规律、动作语汇的风格化,从动作中结合藏民族的历史人文及舞台实践作品来综合性的论述藏族舞蹈中的审美性与审美价值。旨在通过对于藏族舞蹈审美性的深挖来突出藏族传统文化的魅力,也有利于我们更好的传承藏族文化并推动藏族舞蹈的创新发展。

审美视野下潮州通花瓷的外观创新设计

袁洁,김희균 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.14 No.-

Through the carving of the whole shape, Tonghua ceramic becomes porous ceramic.Tonghua ceramic in Chaozhou is totally porous ceramic artwork combining with various decoration methods, such as porcelain flowers and overglaze color. Skill of Tonghua ceramic is not only one of the ceramic firing techniques of Fengxi, but also one of the China’s intangible cultural heritage. In modern society, Tonghua porcelain is slowly withdrawing from people's daily life because it does not meet the current aesthetic needs. Therefore, to find a sustainable way of inheritance and development of "non-heritage" is the direction of people's attention and research. The innovation of Tonghua porcelain appearance design is not only one of the most direct and specific solutions, but also a necessary means to change the current situation. After research, the author found that the important reason for the slow development of Tonghua porcelain is that it does not adapt to the current aesthetic appreciation. Chinese contemporary culture is an important foundation for the construction of current aesthetic appreciation. For the innovation of appearance, we must study the current aesthetic features from the perspective of contemporary culture, find the corresponding forms of expression, and explore the creative design methods of appearance. The article first expounds development features of Tonghua ceramic in different periods by looking up documents and field research. It concludes traditional aesthetic features of Tonghua ceramic by analyzing traditional Tonghua ceramic’s aesthetic features including craft, appearance and function. Then it researches Chinese contemporary culture and aesthetic features based on it, such as diversification, popularization and individuation. From the four innovative aspects,such as express patterns, creation idea, technology and function, it exploits and discusses methods and ideas of appearance innovation in order to inherit and develop art of Tonghua ceramic in Chaozhou. 潮州通花瓷是通体镂空,并结合瓷花、釉上彩等多种装饰手法的陶瓷工艺品。通花瓷技艺是枫溪陶瓷烧制技法之一,也是中国非物质文化遗产之一。在现代社会,通花瓷由于不适应当下审美需求,正慢慢退出人们的日常生活。因此,找寻可持续性的“非遗”传承与发展的途径是人们关注和研究的方向。通花瓷外观设计创新,是最直接具体的解决方式之一,也是改变当下局面的必要手段。笔者经过研究,发现通花瓷发展滞缓的重要原因,是不适应当下审美。中国当代文化是构建当下审美观的重要基础。对外观的创新,必须从当代文化的角度研究当下审美特点,找寻与之相符的表达形式,探索外观创新设计方法。 本文首先通过文献查阅与田野调查,梳理通花瓷从兴起、发展到鼎盛、衰落的历史过程,阐述通花瓷各时期的发展特点。通过分析传统通花瓷的工艺美、外观美以及功能美,总结传统通花瓷的审美特征。然后研究中国当代文化,以及在此基础下产生的“多元化、大众化、个性化”的审美特点,归纳适合当下审美的外观创新方法。从 “表达形式的创新、创作观念的创新,技术的创新以及功能创新”四个角度入手,探讨外观创新设计的方法与思路,从而达到传承与发展潮州通花瓷艺术的目的。

两汉艺术观念的融通性研究

王莎 ( Wang Sha ) 한국외국어대학교 국제지역연구센터 2021 문화와 세계 Vol.2 No.1

两汉艺术作品,以“相通相契”为主要特征,即不同的艺术门类之间存在着共同审美特征。两汉艺术精神作为本民族独具的审美意识,有形或无形地贯穿于本民族整体历史发展脉络中,在历史演变过程中不断获得意义的增殖。艺术观念作为连接艺术精神与艺术现象的中间环节,“融通性”是其必然特征。从艺术审美特征、艺术价值等角度切入,基于两汉艺术普遍存在的“雅俗共存”的审美形态,表明两汉艺术观念不仅受到儒家“美善合一”的伦理思想影响,亦呈现出汉代人之于生活、功利、享乐等多方面的永恒追求,之于自我存在价值持之以恒的探索。 The main feature of the art works of the Han Dynasty is “interlinked and compatible”, that is, there are common aesthetic characteristics among different art categories. The artistic spirit of the Han Dynasty, as the unique aesthetic consciousness of Chinese nation, tangibly or intangibly runs through the whole historical development of our nation, and constantly gains the proliferation of significance in the process of historical evolution. Artistic ideas are an intermediate link between artistic spirit and artistic phenomenon that “interlinked and compatible” are its inevitable characteristic. Mainly starting from the perspectives of aesthetic characteristics, artistic value and aesthetic form of “coexistence of elegant and vulgarity” , this article shows that artistic ideas of the Han Dynasty are not only influenced by the Confucian ethics of “the harmony of beauty and goodness”, but also shows the Han People's eternal pursuit of daily life, utility, enjoyment, and absolutely the constant exploration of self-existence value.

試論中國左翼文學的審美特征

林?民(Lin Weimin) 중국문화연구학회 2003 중국문화연구 Vol.0 No.2

论陕北秧歌中的艺术学要素

이서건 중국인문학회 2010 中國人文科學 Vol.0 No.45

앙가는 중국 북방의 일부 지역에서 보편적으로 전승되고 있는 민간 가무예술이다. 앙가는 생성과 발전과정에서 장기간에 걸쳐 가․무․희 등의 각종 예술형태의 요소를 광범위하게 흡수하여 최종적으로 다종의 형식이 융합된 종합적인 민간예술 형식으로 정착된 것이다. 본고는 섬북앙가를 일종의 예술복합체로 간주하고서 형태학 및 심미 특징의 방면에서 다양한 예술요소 간의 영향 및 상관관계를 분석하였다. 그리고 이들 민간문화 활동에 내재된 문화상징의 요소를 밝혔다.

论李白《古风五十九首》中的海意象

황월명(Huang, Yue-Ming)(黄,玥,明),김창경(Kim, Chang-Gyeong)(金昌庆,) 대한중국학회 2020 중국학 Vol.73 No.-

李白笔下诗歌1054首,出现“海”字词汇有292次。其《古风五十九首》中有20首使用海意象。其诗歌中的海意象大多借海的外在物象与其内在情感意象想构建,展现“言在意外”之美。李白笔下的“海”有一部分是临海而作,有感而发,但大部分多“虚拟的海”,借助典故加以大胆的想象与夸张幻化出来的自己心中的海。或宣泄个人胸中之块垒,或是对人生际遇发出感慨,亦或是借典借神仙大海来表达自我情感。其笔下的大海的形象,正如其自己,诗人在描述海,表达海的同时,更像是在表达自我,抒发自我。在风格与创作的原则上,李白继承了《离骚》中的“自我”与《诗经》的“风雅”、“美刺”、及“现实”精神。此篇以《古风五十九首》为研究对象,分析其海意象的生成、组合和表达,透过诗人对海意象的构建分析其审美特色以及承载的诗人内在情感、内心世界。 The image of “Ocean” in Li Bai’s poems is mostly constructed from the external images of the ocean and his inner emotional images to show the beauty of “words beyond the meaning”. Some of Li Bai’s poems about “ocean” were written near the ocean based on his feeling, but most of them were about “virtual ocean”, which was the illusory ocean in his mind through bold imagination and exaggeration based on the allusions. Some of them expressed his depression or his perception about life, or expressed his feelings through allusions and the ocean of immortals. The image of the ocean in his works was just like himself. From this point of view, the image of the ocean is more like “materialized poet himself”. While describing and expressing the ocean, the poet was more like expressing himself. Li Bai sighed in his The 35th Ancient Style Poem that “Thinking of Emperor Wen of Zhou Dynasty in reading Taiga, and the influence of Song have collapsed for a long time. On the principle of style and creation, Li Bai inherited the “self” in Li Sao and the “elegance”, “beauty” and “reality” spirits of the Book of Songs. Therefore, this paper takes the text of Fifty-nine Ancient Style Poems as the subject, and starting from the “image of the ocean” involved in it, analyzes the poet’s inner feelings and inner mind through the “image of the ocean”.