摘要
立足于当代学者关于视觉文化的论著,结合武术文化实践,运用演绎法和逻辑推理法阐释武术文化的视觉特性。认为武术套路的视觉特殊在于:在武术套路表演过程中,观众的“看”与自我的“看”形成了视觉文化的运作“场”;传统武术的“内视”———武术对“形—气—心”一体三相的内视自觉,体现了“一人天,合内外”的大生命洪流;武术套路对技击实践的思维超越及对技击意境的精神表达,参与并形成了语言。
Based on contemporary scholars＇ works on visual culture, combined with Wushu cultural practice and using the methods of deduction and logical reasoning, it set forth the visual features of Wushu culture. It held that the visual speciality of Wushu routine lied in that in the process of Wushu performance, the ＂watching＂ of audiences and Wushu performancers themselves came into being the operational ＂field＂ of visual culture, the ＂immanent feeling＂ of the conventional Wushu, i.e. its immanent-feeling consciousness of one body three phases of ＂shapespirit-think＂ embodied the life onrush of the harmony between heaven and human beings, the thinking transcendency of Wushu routine to skilled hit practice and its spiritual expression of artistic conception of skilled hit participated in the formation of language.
出处
《上海体育学院学报》
CSSCI
北大核心
2007年第1期65-68,共4页
Journal of Shanghai University of Sport
关键词
武术套路
视觉文化
内视
视觉语言
Wushu routine
visual culture
immanent feeling
visual language
