摘 要「形神」是中國哲學與美學中，一對相當重要的範疇。對於「形神」的提出和討論，首先發端於先秦哲學思辨，西漢《淮南子》又將它帶進了美學領域，並在魏晉南北朝時，經由繪畫理論的闡釋，初步建立了中國傳統繪畫的「形神論」。由於中國傳統文化思維及藝術共性的作用，繪畫的形神論順理成章的滲透、影響了中國其他的傳統藝術，形神論由此逐漸成熟，並成為中國美學上的重要理論。這期間，中國戲曲和其他門類的傳統藝術一樣，也接受並轉化了繪畫的形神論，建構了自己的「戲曲形神論」。本文旨在敘述上述形神論由先秦發軔，到戲曲接受、轉化繪畫形神論、形成「戲曲形神論」的動因與過程，同時深入剖析戲曲的形神範疇與內涵。並嘗試分別從歷代曲論家與劇作家的曲論、戲曲演員的舞台實踐，以及從觀眾、舞台美術的角度，探索、印證形神論對於中國戲曲藝術的實質影響。 Abstract “Form and Spirit “is one of the most significant theories at the heart of Chinese classical philosophy and aesthetics. The first presentation and discussion of the nature of form and spirit originated in the philosophical debate of the pre-Quin period, later in the Western Han Dynasty, the book Huai Nan Zi connected them with aesthetics. During the Wei-Jin Southern and Northern Dynasties, painters explained and deconstructed art through the concepts of form and spirit leading to the creation of the “Form and Spirit theory” of visual arts. Based on the common principles of Chinese traditional culture and its artistic character, the “Form and Spirit theory” in painting influenced the other Chinese tradition arts, becoming one of the dominant theories of the Chinese aesthetics. During this period of time Chinese opera adopted and transformed the “Form and Spirit theory” from painting, constructing its own interpretation of the “Form and Spirit theory “for Chinese opera. The purpose of this thesis is to examine the origins and development of the “Form and Spirit theory” of Chinese opera, and analyze both form and spirit components and their significance throughout all aspects of the art. Additionally, it attempts to explore and prove the “Form and Spirit theory “, how it affects Chinese opera from the perspectives of Chinese opera critics, playwrights, actors, the audience, and the stage arts.
