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两种必然性的交叉点上,造就着使人可遇不可求的偶然性。历史的偶然性,是冥冥之中赐予的机缘。它为一切追求真善美的人开辟了新的人生境界,并且有可能给历史留下灿烂印迹。蓄须明志的艺术大师梅兰芳和京胡名家姜凤山在建国后的遇合,虽然只有13年,却精彩地演绎、验证了以上的表述,并给京剧后来人留下了欣羡与思考。梅大师的艺术人生的最辉煌时期,是新中国成立最初的十余年,姜凤山追随梅大师的脚步,留下来同样辉煌的足迹。1961年大师归去,此后,京剧艺术在政治风波中被颠覆着、戏弄着,只知把戏唱好的京剧人被卷进了莫须有的闹剧里,扮演着悲剧角色。“四人帮”垮台之后,与梅大师相依为
At the intersection of the two necessities, there are contingencies that make it impossible for others to meet. The accidental nature of history is a chance given by somewhere. It opens up a new realm of life to all those who pursue truth, kindness and beauty, and may leave a glorious impression on history. Even after 13 years, the encounter between Mei Lanfang, an art master of Yixue Mingzhi, and Jiang Fengshan, a famous master of Beijing-Huzhou area, has splendidly deduced and verified the above statements and left envy and reflection on Peking Opera later. Master Mei’s art life, the most glorious period, is the first ten years after the founding of New China, Jiang Fengshan follow Mei Master’s footsteps, leaving the same brilliant footprint. After the master returned in 1961, Beijing opera art was subverted and twitched in the political turmoil, only to know that the operatic singing opera was entangled in the indispensable farce and played a tragic role. “Gang of Four ” After the collapse, with Master Mei dependencies