中西古典“和谐”美学思想比较

发布时间：2018-05-17 20:09

本文选题：中国古典美学 + 西方古典美学　；参考：《安徽大学》2017年硕士论文

【摘要】：在历史的漫漫长河之中,伴随着科技的飞速发展,国家和国家之间的联系日益紧密,文化的了解和相互渗透也越来越多,比较之意渐渐兴起,甚至成为当今学术界的热门之一。无论在我国还是在西方,哲学家们都非常喜欢将中西美学拿来互相比较。鉴于每一个主义的产生和其所处的时代背景息息相关,所以探究一下可以发现,古典主义中的和谐内容是非常丰富的。这里面包括人与自然、物与我、再现与表现以及感性和理性的多种和谐,并且其中的每一对范畴都值得我们去探究和思考。在这里,本文将选择通过感性与理性关系的视角,将和谐置于中国古典美学以及西方古典主义美学的背景之下,进行比较、探究以及思辨,希望能够通过阐述二者在中西方不同时期的关系变化,从中进一步发现中西方古典美学时期和谐的差异性。本文主要分为四个章节。第一章节,对和谐中重要的一组二元对立矛盾感性以及理性进行概念阐述。首先是从语义学的角度解释了什么是感性以及什么是理性。接着将感性和理性放置在哲学思想的语境中进一步进行深入的概念上的探讨。第二章节,将和谐中的感性与理性这一组矛盾放置在西方古典主义时期进行深入探讨。其中主要选取了柏拉图以及德国古典主义时期的美学家们作为代表,来对这一发展历程进行粗浅的分析和探讨。从而试图找到一些规律性的存在,以便进行更深层次的研究。第三章节,选取部分哲学家的思想,探讨中国古典美学时期的感性与理性辩证发展的历程。在我国古典美学体系中,大部分的哲学家都将感性经验和理性精神放在了同一个天枰之上,保证了二者的平衡。中国的传统文化和西方文化有一个很大的区别。这个不同就是中国古代的文人墨客或者学者在探究的时候,追求的并不是用理智的,层层递进般的逻辑思维进行辩证,相反更多的则是追求物我相忘的境界。第四章节,探讨中西方古典美学中关于感性和理性关系问题的共通之处以及差异之处,进而延伸出有关和谐思想差异性的原因。从宏观上看,西方古典主义时期的美学思想的明显特征是和中国传统美学思想具有相通之处的。但是因为很多文化背景上的差异,不免也具有各自的独特特性。通过以上的探讨,我们可以看出,中西方在感性与理性关系的问题以及关于"和谐"思想的问题上之所以有所不同,还是源于"天人合一"以及"主客二分"的深刻差异。这些直接指向了思维方式上的差异性。中国传统思维方式是讲究和谐与统一的,而西方传统更注重分别与对抗。从西方重分析的视域下看中国传统思维方式,似乎中国古代的思维方式模糊而不严谨,但正是因为中国古代重视"合一"的思想,使得中国哲学常以心物同属、主客兼备、天人合一的形态标出,体现了一种古朴的系统论思想,这种思想不仅对综合性科学有启迪,在当下更具现实意义,更有利于人与自然和谐相处以及人的可持续发展。
[Abstract]:In the long history of history, with the rapid development of science and technology, the connection between state and state is increasingly close, the understanding and mutual infiltration of culture are more and more, the meaning of comparison is gradually rising and even becoming one of the hottest academic circles. Both in China and in the west, philosophers like to bring Chinese and Western aesthetics very much. Compared with each other. In view of the fact that the emergence of each doctrine is closely related to the background of the times, it is found that the harmony in the classicism is very rich. Here is a variety of harmony between human and nature, things and me, reproduction and expression, and perceptual and rational, and each of them is worthy of us. To explore and think. Here, this article will choose the perspective of the relationship between the perceptual and the rational, and put the harmony under the background of Chinese classical aesthetics and the western classical aesthetics, and compare, explore and think about it, and hope to further discover the Chinese and Western Classicism through the elaboration of the changes in the relationship between the two and the western in China and the West. This article is divided into four chapters in the aesthetic period. This article is mainly divided into four chapters. The first chapter expounds the concept of the sensibility and rationality of an important group of two opposites in harmony. First, it explains what is sensibility and what is reason from the perspective of semantics. Then, the perceptual and rational are placed in the context of philosophical thought. In the second chapter, the contradiction between sensibility and reason in the harmony is placed in the Western Classicism period, which mainly selects Platon and the German classicist aesthetic experts as representatives to make a superficial analysis and Discussion on this development process. In the third chapter, we choose some philosophers' ideas to explore the dialectical development of perceptual and rational in the classical Chinese aesthetic period. In our classical aesthetic system, most philosophers put perceptual experience and rational spirit above the same Libra. There is a great difference between the Chinese traditional culture and the western culture. The difference is that the ancient Chinese literati or scholars are exploring the two. The pursuit is not a rational, progressive logic thinking, but the other is the pursuit of things I forget. The fourth chapter, exploration. To discuss the common points and differences of the relationship between sensibility and reason in Chinese and Western classical aesthetics, and then extend the reasons for the difference of the harmonious thought. From the macroscopic view, the obvious characteristics of the aesthetic thought in the western classical period are in connection with the traditional Chinese aesthetic ideas. But because of many cultural backgrounds, there are many cultural backgrounds. The differences between them have their own unique characteristics. Through the above discussion, we can see that the differences between the Chinese and Western issues on the relationship between perceptual and rational and the "harmony" thought are different from the profound differences between the "harmony between heaven and man" and the "two points of the subject and the guest". These points directly point to the difference in the way of thinking. The traditional Chinese thinking way of thinking is to pay attention to harmony and unity, while the Western tradition pays more attention to the difference and the confrontation. From the perspective of the Western heavy analysis, the traditional Chinese thinking mode seems to be vague and not rigorous in ancient China, but it is precisely because the ancient Chinese thought was attached to the thought of "unity", which made Chinese philosophy often in the same spirit as the heart and the heart. The appearance of both the subject and the guest, the form of the harmony between heaven and man embodies an ancient and simple system theory, which not only enlightens the comprehensive science, but has more practical significance at the moment, and is more conducive to the harmonious coexistence of man and nature as well as the sustainable development of human beings.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：B83-0

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