| （1.商丘师范学院 体育教学部，河南 商丘476000；2.上海体育学院 武术系，上海200438）摘要：从生命美学的角度观照五禽戏，对它以“戏”的活动形式，某些动作名称(如“引气归元”、“握固”)及“意念转化”等方面进行文化根源的探究，认为五禽戏在“游戏”中追求“物我合一”的生命境界，并体现了“返婴论”的老庄思想，其美学本质是“立象以尽意”。关键词：五禽戏； 生命美学； 游戏； 返婴论； 立象以尽意 中图分类号：G852.6；G802 文献标识码：A 文章编号：1006-7116(2006)02-0086-03 |
SI Hong-yu1, YU Ding-hai2
| (1.Department of Physical Education, Shangqiu Teachers Institute, Shangqiu 476000,China; 2.Wushu Department, Shanghai Institute of Physical Education, Shanghai 200438，China) Abstract: The authors observed the Five-Bird Game·qigong from the perspective of life aesthetics, probed into the cultural origin of its form of “game” activity, some movement names (such as “Yin Qi Gui Yuan” (guiding Qi to its source) and “Wo Gu” (enclasping) as well as “thought transformation”, considered that people pursued the life state of “integration of the world and me” in the “game”of five-bird game, which embodied Lao Zhuang’s thought described in his “Theory of Rejuvenescence”, and that the aesthetical essence of five-bird game was to “convey one’s thought through the form established”. Key words: Five-Bird Game; life aesthetics; game; Theory of Rejuvenescence; conveying one’s thought through the form established |
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