王弼言意观的美学研究

发布时间：2018-06-12 06:48

本文选题：王弼 + 言意观　；参考：《山东师范大学》2017年硕士论文

【摘要】：王弼是魏晋时期著名的玄学家,虽然他专门论述艺术与美的言论较少,鲜有原创性的美学观点,但他却也是中国历史上少有的具有原发性思想的大家,且王弼处于历史发展的节点,因此其思想也必然带有承上启下的过渡性价值。中国传统文论史乃至整个哲学、美学、文艺学的发展进程中,有关言意关系问题的论辩始终贯穿其中。汉魏之际,王弼将庄子“得意忘言”的方法应用于注解经典、阐发义理上,进一步拓展《周易》中“立象以尽意”的观点,提出“得意在忘象,得象在忘言”这一极具特色的言意观,将言、象、意三者有机结合,自此,“言意观”正式成形,汉代经学由此向魏晋玄学转变。王弼的言意观蕴含了远比先秦时期的言意观点更为丰富的思辨色彩,这使得其“得意忘象”的哲学命题转换为颇具审美意义的美学思想,对我国古典美学起到了深远影响。从美学角度来看,王弼的言意观强调在审美活动中追求“意”的同时又不抛弃言、象,言、象、意三者是相互交融、难以分割的审美统一体,其中所展现的主客交融、虚实相生、有限与无限相统一的美学精髓为中国美学的建构提供了一种独特的审美范式。所以,若忽视王弼的言意观,就不能将魏晋文论进行整体的把握,不能理顺中国美学的整体发展历程。本文将尝试立足王弼“得意忘象,得象忘言”言意观的文化语境、魏晋时代特征等综合要素,对其美学本质、审美追求、美学效应展开整体观照,深入透析其言意观的审美思想。本文共分为四部分:第一章对王弼的言意观进行整体的文化语境考察,系统梳理其缘起。从思想渊源上来看,王弼的言意观向上可追溯到庄子的“得意忘言”观点,并且他以此方法论为出发点解读《周易》,创造性地把《周易》中的“象”引入庄子的“得意忘言”中,提出“得意在忘象,得象在忘言”(1)的主张,系统论述言—象—意三层结构,使三者有机结合,正式形成“言意观”,使得“言意之辨”成为魏晋玄学争论的焦点。从社会文化角度上说,独特的魏晋风度催生了“言意之辨”哲学命题的美学转换,因此,系统考察王弼所处的魏晋时代对研究其言意观的美学思想具有重要意义。因此,本章从《周易》与庄子的言意思想入手,进行由远及近、由普遍到特殊的考察,进而挖掘王弼的言意观生成的文化思想提前。第二章逐层分析王弼言意观的美学本质,“得意忘象”是对“以无为本”的哲学本体论的具体实践,是对事物的本体与属性、内在与表象间复杂关系的一次成功探索。生活在特殊的魏晋环境中,王弼不可避免地受到人物品藻的熏染,因此其言意观也必然带有评判与审美色彩。而其言意观的美学本质离不开言、象、意三者的审美内涵,因此,本章将从言、象、意三者各自的审美本质着手,对王弼的言意观的美学本质进行逐层的深入探讨。第三章重点阐明王弼言意观的审美追求,从美学视角分析,王弼“得意忘象”的言意观强调了对无限深远的美的探索。他将庄子的“天地有大美而不言”发展为“大美配天而华不作”,认为万物应顺自然之性,语言亦为如此,追求的是还原“意”之本真、崇尚自然之“美”。对于主观情感的重视、独立人格的推崇,启发了他对人格美学的审美追求,而其“忘象”“忘言”的提出是对外在形式的超越,使言、象与“意”之间拉开了距离,体现了超越之美,这也是王弼“得意忘象”的言意观极具特色的审美追求之一。第四章宏观论述王弼言意观的美学效应,“得意忘象”的提出缓解了“言尽意”与“言不尽意”的矛盾,实际上,取象著言以尽意与中国古典美学的重神韵意味、以形传神的审美趣味息息相关。从现实意义上来说,其言意观所显现出来的美学思想加深了后世对美的本体性的认识,不仅为形神之间找到了最为适合的契合点,同时为主体审美感悟的呈现提供了可能,为士人摆脱世俗、效法自然提供了不可言说的理论支撑,催生了魏晋学者对“言外之意”的审美追求,影响着山水画、山水诗等艺术实践的发展。
[Abstract]:Wang Bi is a famous metaphysics in the Wei and Jin Dynasties. Although his comments on art and beauty are few, there are few original aesthetic views, but he is also one of the few people with original ideas in Chinese history, and Wang Bi is in the node of historical development, so his thought is bound to carry the transitional value of the past. In the history of the literary theory, and in the course of the development of the whole philosophy, aesthetics and literature and art, the argument about the relationship between words and meaning has always been run through. In the Han and Wei dynasties, Wang Bijiang Chuang-tzu's method of "forgetting the words" was applied to the annotation of classics, to elucidate the sense of justice and to further expand the view that "the image is intended as the best" in the Zhou Yi. In the view of "forgetting" this very distinctive concept of words and meaning, combining the words, the elephant, and the meaning of the three, from this, "the view of words" is formally formed and the Han Dynasty has changed into the metaphysics of the Wei and Jin Dynasties. Wang Bi's view of words and meaning contains a much more abundant speculative color than the ideas of the pre Qin period. Aesthetic meaning has a profound influence on the classical aesthetics of our country. From the aesthetic point of view, Wang Bi's view of words and meaning emphasizes the pursuit of "meaning" in the aesthetic activities and does not abandon the words, such as, words, images, and meaning three is an aesthetic unity which is mutually blending and inseparable, in which the subjective and objective integration, the virtual reality, the limited and the no The aesthetic essence of the unified limit provides a unique aesthetic paradigm for the construction of Chinese aesthetics. Therefore, if we ignore Wang Bi's view of words and meaning, it is impossible to grasp the whole of the literary theory of Wei and Jin, and can not straighten out the whole course of development of Chinese aesthetics. This article will try to be based on the cultural context of Wang Bi's "forget the image and forget the words". The characteristics of the characteristics of the Wei and Jin Dynasties, such as the characteristics of the aesthetic nature, aesthetic pursuit, aesthetic effect unfold the overall view, in-depth dialysis of the aesthetic ideas of his views. This article is divided into four parts: the first chapter of the overall cultural context of Wang Bi's view of the meaning of the context, systematically combing its origin. From the source of thought, Wang Bi's view of the meaning upward It can be traced back to Chuang-tzu's "forgetting the idea of forgetting the words", and he interpreted "Zhou Yi" as the starting point of this methodology and creatively introduced the "image" in the book of Zhouyi into Chuang-tzu's "forgetting words", and put forward the proposition that "the idea is in oblivion, that is like to forget the words" (1), and systematically discusses the three layers of the image and meaning, so that the three are organically combined and formally shaped. From the social and cultural point of view, the unique style of Wei and Jin has led to the aesthetic transformation of the philosophical proposition of "the differentiation of words and meanings" from the angle of social culture. Therefore, it is of great significance to systematically examine the aesthetic ideas of the Wei and Jin Dynasties in Wang Bisuo. In the second chapter, the second chapter analyzes the aesthetic essence of Wang Biyan's conception of meaning, which is the concrete practice of the philosophical ontology of "Inaction" and the noumenon and genera of things. A successful exploration of the complex relationship between nature and immanent and appearance. Living in the special Wei and Jin environment, Wang Bi is inevitably exposed to the influence of the characters and algae, so the idea of his words and meaning must also be judged and aesthetic. The aesthetic essence of his speech and meaning cannot be separated from the aesthetic connotation of the three people, such as the words, images, and meaning three. In the third chapter, the third chapter focuses on the aesthetic pursuit of Wang Biyan's conception of meaning. From the aesthetic perspective, it emphasizes the exploration of the profound and far-reaching beauty of Wang Bi from the aesthetic perspective. He developed Chuang-tzu's "heaven and earth with great beauty without saying". "Great beauty does not work with the sky". It thinks that all things should be natural and the language is also the same. It seeks to restore the true nature of the "meaning" and the "beauty" of nature. The emphasis on subjective emotion and the esteem of independent personality enlighten his aesthetic pursuit of personality aesthetics, and his "forget to forget the words" is the form of the above. In the fourth chapter, the fourth chapter expounds the aesthetic effect of Wang Biyan's conception of meaning, and the proposal of "unconsciousness" relieves the contradiction between "the meaning" and "the unintended meaning". In fact, take the image. In the sense of reality, the aesthetic thought of the idea of his speech and meaning deepens the understanding of the noumenon of beauty in the future, and not only finds the most suitable agreement between the form and God, but also the presentation of the aesthetic perception of the main body. It provided the possibility for the scholars to get rid of the secular world and provide the unspeakable theoretical support for the validity of nature, which gave birth to the aesthetic pursuit of "the meaning" of the scholars in the Wei and Jin Dynasties, and influenced the development of the artistic practice of landscape painting and landscape poetry.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：B83-092

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