清代馆阁体意象创构特征和审美意识

发布时间：2019-01-01 17:45

【摘要】：清代书法是清代美学思想的载体之一,馆阁体更是体现清代主流审美意识的重要媒介,标举着清廷力倡的崇尚"中和"的官方审美基调,呈现出显著的意象特征和变态的皇权意志。以清代馆阁名家的经典馆阁体书作为介质,归纳分析其艺术本体的意象创构特征,阐明其审美观念和审美特质,厘清主导其审美价值转变的本质内核,揭橥其后潜藏的主流审美意识嬗变,是对清代美学史研究新路径的前瞻性探索,更是在解构审美意识物化形态的基础上建构清代审美意识主体价值体系的原创新尝试。研究表明,清代馆阁体被尊为清廷官方意志的书坛载体及其在笔法、字法、章法、墨法上的严苛法度,都是皇权意志对书法艺术强力介入、渗透异化的结果。
[Abstract]:Calligraphy in Qing Dynasty is one of the carriers of aesthetic thought in Qing Dynasty. The pavilion is an important medium to embody the mainstream aesthetic consciousness of Qing Dynasty, and it holds the official aesthetic tone of advocating "neutralization" advocated by the Qing Dynasty. There are obvious image features and abnormal imperial will. Taking the classical Guange style books of the famous masters of the Qing Dynasty as the medium, this paper sums up and analyzes the image creation characteristics of its artistic ontology, clarifies its aesthetic concept and aesthetic characteristics, and clarifies the essential core that dominates the transformation of its aesthetic value. The evolution of mainstream aesthetic consciousness is a forward-looking exploration of the new path of the study of aesthetic history in the Qing Dynasty, and an original attempt to construct the value system of the subject of aesthetic consciousness in Qing Dynasty on the basis of deconstructing the materialized form of aesthetic consciousness. The research shows that the style of pavilions in Qing Dynasty is regarded as the carrier of the official will of the Qing Dynasty and its strict laws in the writing method, the word method, the constitution method and the ink law are all the result of the strong intervention of the imperial will to the calligraphy art and the infiltration and alienation of the imperial will.
【作者单位】：华东师范大学中文系博士后流动站;
【基金】：国家社科基金重点项目“中国审美意识通史”(11AZD052)
【分类号】：J292.1

【参考文献】