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要想使戏曲表演艺术达到最高境界,不仅要在技艺层面上,能娴熟地驾驭四功五法,而且必须在美学层面上,深刻领悟戏曲意象。戏曲艺术鉴赏家翁偶虹,曾在《梅兰芳的意象美学意识》一文中独具慧眼地对梅兰芳表演艺术的美学特征,作了如下精辟的阐述:“他在造象之始,不只立象,还要立意;不只塑形,还要塑神;既立客观之象,又立主观之意;既不是对实象的摹仿,又不是主观上的幻影;所谓立象尽意,意赖象存,象外环中,形神兼备。这样造像,是掌握了中华民族的美学意识一一意象美学意识。”
In order to achieve the highest level of performing arts in opera, it is necessary not only to master the four power and five methods skillfully, but also to profoundly comprehend the opera image at the aesthetic level. Weng Hong Hong opera connoisseur has worked in the “Mei Lanfang aesthetic sense of imagery,” a discerning eye on Mei Lanfang performing arts aesthetic characteristics, made the following incisive exposition: "He at the beginning of the image, not only established Not only shape but also sublime the spirit; not only establish the objective image but also the subjective meaning; neither imitate the real image nor subjective illusions; , Like the outer ring, with both form and spirit, this statue is mastered the aesthetic awareness of the Chinese nation eleven aesthetics.