中国审美心境范畴论

发布时间：2018-02-27 16:25

本文关键词： 审美心境范畴自然静灵适化　出处：《复旦大学》2012年博士论文　论文类型：学位论文

【摘要】：当代文化语境中“物性”压倒“灵性”,“审丑”取代“审美”的趋向已愈演愈烈,特别表现在文艺领域以及社会文化氛围层面。审美心境的提出就是为了要回归美,并借助审美获得幸福感。本文通过选取“自然”、“静”、“灵”、“适”、“化”等主体审美心境范畴为研究的切入点,结合中国审美心境历史发展的脉络,厘清范畴内涵,同时兼与其他相关范畴比较,揭示各范畴间的内在逻辑联系,从而探讨其中蕴含着的我们民族独特的审美思维方式、心灵境界和修养方法等。主体审美心境范畴的研究,不仅在中国美学和文论范畴研究上有重要意义(因为除个别主体论范畴已有人作过研究外,整体性的理论观照还相当薄弱),而且对西方当代艺术及理论的发展,以及现代人性心灵的建构,也具有相当的参考价值。论文共分八个部分,即绪论、第一章总论、第二至六章是范畴分论部分,以及结语。兹将各章安排与主要内容述说如下：绪论部分主要是论述当代文化语境中“物性”压倒“灵性”,“审丑”取代“审美”的趋向,在文学艺术和社会文化氛围层面上的表现,此为审美心境范畴研究的背景与出发点。简略介绍审美心境范畴研究的现状与本文的思路。第一章总论审美心境的内涵,逻辑发展与历史转捩点；概括审美心境范畴的总体特征,即主体性、本体性、衍生性,方法与境界的同一,人事与艺事的同一。第二章分论“自然”范畴,兼谈“真”、“诚”等范畴。主要论述“自然”范畴美学内涵的历史演进；其中包含的直观体验思维方式；以陶渊明为典范,论述艺术表现与生活方式相统一的“自然”境界。第三章论述“静”范畴,兼与“自然”、“悟”范畴的关联。一是从“定”、“观”、“净”、“独”四个逻辑层面分述“静”范畴的审美内涵；二是以王维为个案,讨论“静”在其审美心境与人生境界中的实现；三是探讨东西方审美静观论的叠合与差异。第四章论述“灵”范畴,其中涉及与“真”范畴的联系。包括“灵”范畴的巫文化起源,借讨论其子范畴“情灵”、“灵气”、“性灵”等来展现其历史演进的脉络以及美学内涵；在中西比较视野中,较为详细地探讨了灵感思维与妙悟思维,以及与此相关的学问、天资等重要文论问题；飞动之势(“灵活”、“灵动”范畴)以及抟实成虚(“空灵”范畴)的艺术表现是主体灵心妙运的成果。第五章讨论“适”范畴,分为三个方面：一是主体“适性”为美的美学内涵；二是物我相忘的审美心态,指与物化、心手相应的实践功夫以及忘适之适的心之“化境”；最后通过王绩、钱选等个案,论述中国古人“闲适”的生活方式与人生境界——在自适之适,生命亲证中追寻并获得幸福愉悦感。第六章是“化”范畴。主要讨论主体心灵的幽微精深、穷神知化的“变化”无穷与脱化创新；无迹可求、妙合无垠的“神化”之境；以及直指人心、立人立品的“教化”之旨。“化”范畴的美学意蕴包孕丰富,与诸范畴内涵交叉互摄,体现了其在审美心境范畴群落中的集大成地位。结语部分进一步指出,在中西交流日益频繁的当下,中国审美心境范畴研究对于当代艺术与生活方式的现实意义,以及中国美学对于世界美学的价值与贡献。
[Abstract]:The contemporary cultural context in the "physical" overwhelming "spirituality", "Ugliness" instead of "aesthetic" of the trend has intensified, especially in the field of literature and social culture level. The aesthetic mood is to return the United States, and with the aesthetic sense of happiness. This paper selected the "natural", "static". "Spirit", "", "" aesthetic mood category as the starting point of the research, combined with the Chinese aesthetic mood the development of history, to clarify the connotation and category, and other relevant areas, reveal the category among logical links, so as to explore which contains our nation's unique aesthetic the way of thinking, the realm of the mind and cultivation methods. The research subject aesthetic mood category, not only in the Chinese aesthetics and literary theory category research has important significance on (because in addition to the individual subject category has been made. Besides, the theoretical perspective of the whole is rather weak. It also has considerable reference value for the development of Western Contemporary Art and theory, and the construction of modern human spirit.
The thesis is divided into eight parts, namely the introduction, the first chapter, the second to the six is the part of the category, and the conclusion.
The introduction part mainly discusses the contemporary cultural context of "physical" overwhelming "spirituality", "Ugliness" instead of "aesthetic" trend in literature and art and cultural atmosphere on the level of performance, this is the starting point and the research category of aesthetic mood background. Briefly introduces the present situation and the research of the aesthetic category in the heart train of thought.
The first chapter is the connotation of aesthetic mood, logical development and the historical turning point; the general characteristics of general aesthetic mood category, namely subjectivity, ontology, derivative, method and realm of the same, with the same artistic personnel.
The second chapter on the category of "nature", and "true", "honesty" and other areas. Mainly discusses the historical evolution of "natural" category of aesthetic connotation; including the direct experience of the mode of thinking; to Tao Yuanming as an example, discusses the artistic performance and life style of the unity of "nature" realm.
The third chapter discusses the "static" category, and "natural", "related to" category. One is from the "set", "view", "net", aesthetic connotation of "independence" four logic levels of the "static" category; the two is to discuss the case of Wang Weiwei, "static" in the aesthetic mood and life realm; the three is to explore Eastern and Western aesthetic contemplation theory overlapping and differences.
The fourth chapter discusses the "spirit" category, which deals with the "true" category. Including the "spirit" category of the witch culture origin, through discuss the sub category of "love spirit", "spirit", "soul" to show the historical evolution and aesthetic connotation; in the comparison of Chinese and western visual field. Detail on inspiration thinking and understanding and thinking, knowledge and the related problems, and other important literary talent; flying potential ("flexible", "smart" category) and real (virtual Tuan "Kongling" category) of artistic expression is the main achievement of spirit heart Miao movement.
The fifth chapter discusses the category of "fit" is divided into three aspects: one is the subject of "adaptation" as the aesthetic connotation of beauty; the two is the aesthetic attitude I left, and materialized, hand practice Kung Fu and forget the suitable heart of "sublimation"; finally by Wang Ji, Qian Xuan as a case, discusses the China "easy" way of life and life realm in self adaptive, life pursuit of happiness and witness of pleasure.
The sixth chapter is "the" category. Mainly discuss the subject's heart faint deep understand of "change" from infinity and innovation; the excellent and boundless without trace, "deification" environment; and Zhizhirenxin, Li Li "indoctrination" purpose. "" the category of aesthetics. In conceiving the rich, with each other and the connotation of the category of cross, embodies the aesthetic mood in the category of community in the master position.
The conclusion further points out that, in the increasingly frequent exchanges between China and the west, the realistic significance of Chinese aesthetic mood category for contemporary art and life style, as well as the value and contribution of Chinese aesthetics to world aesthetics.

【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：B83

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