中和:朱熹美學、詩學范疇研究
本文選題:中和 + 朱熹; 參考:《四川師范大學》2017年碩士論文
【摘要】:中和范疇是古典美學與詩學中的重要范疇。朱熹作為宋代理學的集大成者,繼承了二程的思想體系,重新構建了儒家哲學,在哲學美學與詩學理論中發(fā)展了中和范疇的內涵。朱熹將中和作為美的本體的基本定位意味著中和具有先驗性、超越性、形而上性和普適性,這些理論為朱熹中和范疇體系奠定了宏觀的理論基礎。朱熹將中和與道之本體并舉,以理學家的性本體論為基礎,發(fā)展了中和在形而上層面的哲理意蘊,將中和視為一種超越的先驗存在,也即是美的本體;同時朱熹從中和作為哲學美學范疇的普適性出發(fā),一方面以天命之性作為道與人聯(lián)系的紐帶,將中和從抽象的層面延伸到人自身,中和指向天命之性的回歸與人欲之情的摒棄,朱熹的“德性之美”是儒家美善合一的審美觀的流露,人在作為倫理道德主體的同時,也成為審美的主體;另一方面,中和以其普適性也在形而下的層面具有廣泛的意義指向,從天地萬物以至人自身,及至文學藝術等人為創(chuàng)造之物,都體現(xiàn)了中和之美。中和既是一種與道共生的超越之美,也是萬物育化,和實生物的天地自然之美,更是文學藝術之美的應有之義,體現(xiàn)了主體的人格理想與審美價值觀念,也是主體審美與客體審美的統(tǒng)一。朱熹的中和詩學范疇建立在心性論哲學和倫理主體哲學的基礎上,繼承和發(fā)展了孔子的溫柔敦厚說。中和首先是朱熹對以雅頌為代表的特定詩歌風格的解讀,同時也反映了對創(chuàng)作主體的審美追求。朱熹將政治意義上的“克盡己私”運用到詩歌創(chuàng)作和批評實踐中,提出了作家的個體修養(yǎng)理論,中和進一步抽象為厚重、嚴正、平和、典雅的詩學原則和標準,從而由單一的詩歌風格具有了普遍的審美意義。有賴于在哲學上對中和的理論提升和闡釋,朱熹的中和詩學范疇在前人基礎上有了較大的發(fā)展,衍生出了豐富的內涵層次,既具有儒家特色又融匯了佛老的因素,既有豐富的哲理內涵,又富有包容性,是古典美學的重要原則和標準,對后世詩學理論與實踐造成了深遠的影響。
[Abstract]:The category of neutralization is an important category in classical aesthetics and poetics.Zhu Xi, as the master of Neo-Confucianism in the Song Dynasty, inherited the two-stage thought system, rebuilt the Confucian philosophy, and developed the connotation of neutralization category in the philosophical aesthetics and poetics theory.Zhu Xi regards neutralization as the basic position of beauty Noumenon, which means neutralization has transcendental, transcendental, metaphysical and universality. These theories have laid a macroscopic theoretical foundation for Zhu Xi's neutralization category system.Zhu Xi developed the philosophical implication of neutralization on the metaphysical level and regarded neutralization as a transcendental existence of transcendental existence, that is, the Noumenon of beauty, on the basis of the Noumenon of Neo-Confucianism and the Noumenon of Tao.At the same time, Zhu Xi starts from the universality as a category of philosophy and aesthetics, on the one hand, regards the nature of nature as the link between Tao and man, extends neutralization from the abstract level to man itself, and neutralizes the return to the nature of destiny and the abandonment of human desire.Zhu Xi's "Beauty of Virtue" is the aesthetic expression of the combination of beauty and goodness in Confucianism. People, as the subject of ethics and morality, also become the subject of aesthetics; on the other hand, neutralizing their universality also has a wide range of meanings at the lower level.The beauty of neutralization is embodied in everything from heaven and earth to man himself, to the creation of literature and art.Neutralization is not only the transcendental beauty of Tao symbiosis, but also the cultivation of all things, the beauty of nature and nature, and the beauty of literature and art, which embodies the personality ideal and aesthetic value of the subject.It is also the unity of subject aesthetics and object aesthetics.Zhu Xi's category of neutralization poetics is based on the philosophy of mind and ethics, and inherits and develops Confucius' theory of tenderness and kindness.Neutralization is Zhu Xi's interpretation of the specific poetic style represented by Yazong, and also reflects the aesthetic pursuit of the creative subject.Zhu Xi applied the political sense of "doing his best for himself" to the practice of poetry creation and criticism, and put forward the individual cultivation theory of the writer, which was further abstracted into the poetics principles and standards of mass, Yan Zheng, peace and elegance.Thus, a single style of poetry has universal aesthetic significance.Depending on the philosophical promotion and interpretation of the theory of neutralization, Zhu Xi's category of neutralization poetics has developed greatly on the basis of his predecessors, and has derived rich connotations, which has both Confucian characteristics and the elements of the Buddha and the old.As an important principle and standard of classical aesthetics, it has a profound influence on the theory and practice of poetics.
【學位授予單位】:四川師范大學
【學位級別】:碩士
【學位授予年份】:2017
【分類號】:I01
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