“曲品”作为明代戏曲批评的重要形态，对诗文等品评范式有所移植借鉴，具体为溯源得委的流派意识、品第高下的比较意识、意象譬喻的审美意识。同时，吕天成、祁彪佳结合诗学批评的本色理论，追求“境”“味”的审美趣味，调整“书品”“画品”里“神、妙、能、具”品的设置，实现“曲品”内涵的新变阐述，从而折射出明代戏曲观念的嬗变：从文词格律转向整体审美风格的讨论、“尚法”与“尚意”论争辨析的再现等，体现出“曲品”批评形态的独特价值，以及明代戏曲理论的时代风貌。
Abstract
"Drama critique", an important form of critical studies of drama in the Ming dynasty, benefits more or less from the critical paradigms of poetry and prose in terms of the consciousness of different schools, the awareness of comparison and the image- and analogy-based aesthetical mindset. Meanwhile, Lü Tiancheng and Qi Biaojia, starting from the "nature and naturalness" theory in poetry criticism, pursue an aesthetical taste characterized by "ideo-mood-imagery" and "feel". By modifying the various indexes of "calligraphic critique" and "painting critique", including the "spirit, exquisiteness, potential and embodiment", they successfully refresh the essence of "drama critique", which reflects the evolution of concepts on drama in the Ming dynasty: the shift of focuses from wording and metrics to overall aesthetic style and to the "skill" versus "subject" debate, etc., and highlights the unique value of "drama critique" as a critical approach.
关键词
诗品 /
曲品 /
吕天成 /
祁彪佳
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Key words
poetry critique /
drama critique /
Lü Tiancheng /
Qi Biaojia
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参考文献
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脚注
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基金
本文系安徽省哲社规划一般项目“明清安徽文人戏曲研究”[项目编号：AHSKY2016D148]、安徽省人文社科重点项目“黄梅戏人才培养与生态建设研究”[项目编号：SK2016A055]阶段性成果。
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