摘要
梁章钜联话系列开启了联话写作的范式,标志着楹联艺术思考的自觉和成熟,直接启迪了晚清、民国时期的联话思想。梁章钜把"雅"作为第一性的审美要素,从楹联的思想、题材、语言、风格等方面构筑了以"浑、典、古、重、大、质"为基础,雅为核心的踵事典雅的审美趣味;同时,他认为,在楹联之中,情与文要兼顾,由此衍生出情文相生、气味统摄的审美境界。梁章钜在楹联品评中认同阳刚美与阴柔美的有机统一,并在此基础上形成了以刚为主、刚柔兼济的审美风格。
Liang Zhangju couplets criticism started couplets criticism paradigm,marked the consciousness and ma-turity of couplets artistic thinking,and directly inspired couplets criticism of the late Qing Dynasty,the Republic ofChina.Liang Zhangju regarded'Ya'as the primary aesthetic elements,including couplets' ideas,themes,lan-guage,and style,to establish aesthetic taste based on'muddiness,typicality,ancientness,heaviness,largeness,andquality'and by taking 'Ya'as core elegance.At the same time,he believed that in the couplets,both emotionand text should be taken into account,which could open up the aesthetic realm in which feelings were integratedwith texts and smells were unified.Liang Zhangju identified the organic unity of masculine beauty and femininebeauty in couplets tasting and on this basis formed the aesthetic style of both giving priority to hardness and cou-pling hardness and softness.
出处
《常熟理工学院学报》
2016年第3期33-39,共7页
Journal of Changshu Institute of Technology
基金
江西省社会科学"十二五"规划项目"文学地理学视域下清代楹联作者分布研究"(14wx03)
江西省社会科学院青年项目"文学地理学视域下清代楹联作者分布研究"(1320)
关键词
梁章钜
联话
美学特质
Liang Zhangju
notes on couplets
aesthetic qualities
