摘要
悲剧诗人总是强烈地渴望和寻找着灵魂的归宿和精神家园,当他在西方遇到了宗教的欢迎时,到中国一定会受到伦理观念的热情款待。当他在这种欢迎和款待的温馨气氛中陶醉时,他就变换了自己的角色而不再是悲剧诗人了。自儒家的伦理观念在中国美学史和思想史上开始显现威严时,中国艺术也就开始书写自己“温柔敦厚”的历史了。从儒家思想作为中国美学史的主导思想这一事实出发,分别以诗、戏剧、小说以及其它表现型艺术(音乐、舞蹈、绘画)为例论证中国传统思想(儒主道辅)导致中国艺术的悲剧精神的缺位。
Tragic poets always long for a soul and spirit home. When welcomed by the religion in the west, they are sure to be treated cordially by ethical conception in China. And when they are elated in the gentle and fragrant atmosphere, their role of tragic poets changes and they are no longer tragic poets. Since the ethical concept of Confucian school became majestic in Chinese aesthetic and ideological history, Chinese arts began a new leaf of “soft and pacific”. Taking poetry, play, novel and other art presentations （such as music, dancing and paining） as examples, and based on the fact that Confucianism＇s ideology is the main ideology in Chinese arts, this paper expounds a truth that traditional Chinese ideology （Confucianism playing chiefly and Taoism playing subsidiary） led to the lack of tragic spirit in Chinese arts.
出处
《重庆工学院学报》
2005年第7期76-78,共3页
Journal of Chongqing Institute of Technology
关键词
中国美学史
中国艺术
悲剧精神
Chinese aesthetic history
Chinese arts
tragic spirit
