摘要
本文立足于苏珊朗格的艺术符号论来探讨中国戏曲脸谱。朗格认为,艺术是人类情感符号形式的创造,因此戏曲脸谱可被看做是表达人类情感的符号。本文从三个方面分析戏曲脸谱这一艺术符号:脸谱的起源,脸谱分类的合理性,以及情感与形式如何在戏曲脸谱中得到统一。脸谱将人类的情感抽象并转换成基本图案和色彩等客观形式;一方是主观的、动态的情感与另一方艺术的客观、静态形式取得了统一,使得戏曲脸谱这一形式看起来就是情感本身。
Based on Susanne Langer’s semiotics of art,this paper analyzed the formative elements of facial make-up in Chinese opera.Langer believes that art is a creative form that symbolizes human emotions;therefore facial make-up can be deemed symbolic of human feelings.The analysis was divided into three areas: the origin of facial make-up,the justification of its current classification,and the conformity of feeling and form in facial make-up.Facial make-up transformed emotions into objective forms combined with basic patterns of line and color.This can be seen by static art forms of facial make-up which reflects emotions that appear as feelings.Therefore this artistic form looks like feeling itself.
出处
《白城师范学院学报》
2013年第2期38-41,共4页
Journal of Baicheng Normal University
