摘要
套路是演练者与观赏者之间的武术审美之旅,但长期以来武术技击本质论限制了对套路审美特征的认识与探索。研究认为:武术与舞蹈同源是武术套路艺术之根;武术套路不是便于记忆的技击术,也不是技击初学之门,而是运用技击元素的艺术创作;动作名称的想象以及"对手"的不在场,体现出武术套路已从技击走向审美;形似、不似、不似之似构成了武术套路审美的3个境界;武术套路超越技击的现实性、功利性、工具性,进而达到一种自由境界。
Chinese Wushu Routine creates an aesthetic journey between presenters and viewers,but for a long time the myth that taking martial arts as the essence of Wushu has limited its pace towards the understanding and exploring of the aesthetic characteristic of Wushu Routine.According to this study,the same origin of Wushu and dance homology constitutes the root of Wushu Routine art.Wushu Routine is neither art of attack and defense for the sake of remember,nor the beginners＇ skills of martial arts,but the artistic creation with attack elements.The imagination of the action name and ＂opponents＂ absence reflects that Wushu Routines has gone beyond the martial arts toward aesthetic.Similarity in form,dissimilarity,resemble in essence not shape make up the three aesthetic realm of Wushu.Wushu Routine has transcended reality,utilitarian,and instrumental of martial arts,and achieved a free state.
出处
《天津体育学院学报》
CAS
CSSCI
北大核心
2013年第1期31-34,共4页
Journal of Tianjin University of Sport
基金
国家社会科学基金项目(项目编号:12CTY002)
关键词
武术套路
审美
技击
Wushu Routine
aesthetic
Martial Arts
