王船山“现量”理论的美学解读

发布时间：2018-04-26 18:30

本文选题：船山 + “现量”　；参考：《山东师范大学》2017年硕士论文

【摘要】：王船山是与顾炎武、黄宗羲并称“明末清初三大思想家”的著名学者,凭借哲学、美学、文学、史学等百科全书式的学术贡献在同时代儒学新释中享有举足轻重的地位。“现量”理论是船山学术中极具代表性的一支,它由佛学走来,在时空性、直觉性以及饱富“诚”意等方面为审美实践确立规则,成为贯穿美论、审美表现论等学说的基本规范。目前学界对于它的研究主要集中在词汇解释、诗学阐发等领域,对其本身的心理机制、美学表征等论述并不充分,所以本文尝试立足“现量”理论之佛学语境及影响其内蕴构成的时代先声、地域文化贮藏、文艺渊源等发展要素,对其内涵、美学特点展开研究,最终衡量“现量”理论的美学效应,做出评价。本文共分为四个部分:绪论首先指出“现量”理论是王船山美学体系中为数不多的具有独创性的概念,它本自古印度“因明学”,意义初流于佛教,在船山儒学化的改造中具备了美学新质;其次,学界对于“现量”理论的本体性、关系性研究,明确标示了当今学者对于它在船山美学中担当的角色、在具体实践中的美学效应等问题的研究仍有不足;最后,论文采取的是大视野、多交叉、点面结合的美学解读方法,使佛学缘起、明清语境、湘学趣味为“现量”本体论研究奠定了深厚的历史文化基础,又凭借对美学内涵、特点的阐发顺推其美学效应,言词相济,逻辑相承。第一章共分两节,梳理了“现量”理论与船山所处时代的内质关系。第一节“学术复国的现实文化策略”从社会层面进行考量,指出明清风云涌动的时局、新因素滋长的经济、综合尚实的文化以及极具霸蛮血性的地域性湘学都在很大程度上影响了“现量”理论的诞生,促使其在深刻的实践中具有了协调政治关怀与劲健人格、偏于求真务实、兴复经典儒学“原道”等基本属性;第二节“求真尚实的学术话语清理”则从学术层面进行探寻,言及“现量”理论是儒家仁德、道家逍遥、佛家直悟等多重视域交叠互取的产物,它宗师王张,扬弃程朱,力斥陆王,畅达六经,取长百家,加之船山受到深厚家学、湖湘之学的浸染,而与明清文坛的形式之美、复古之美、“向心求美”等主流话语展开论辩。由此,混乱的明清社会与复杂的学术渊源共同催生了“现量”理论求实尚真、兼济各说的特征,孔儒成为审美旨归,求“诚”成为审美理趣,明澈的现实之感与审美之悦交相辉映,共同构筑出“现量”理论的有机结构。第二章阐明了“现量”理论的内涵及特点。第一节“‘现量’理论的美学内涵”基本参照《相宗络索·三量》中定义的划分:“现在”义表明审美愉悦的源泉必定始自当下,“现成”义言及美感的获得依赖直觉瞬成,“显现真实”义昭示审美实践必定遵循“诚”之理想模式,回归真实的存在。三方涵义相值相取,摈弃了法相宗“现量”转识成智的表征,儒美之姿尽现;第二节“‘现量’理论的美学特点”在更深层的美学领域中剖析了其基本特征,论述指出,“现量”理论具有的高度时空直觉感在具体的层级上为审美活动发生的条件、审美经验获得的方式做出了规定,具备了更加鲜明的为我性与自由性。真与美相统一的“诚”意也显示出了区别于客观真实的物我合一妙境,这种对美感的无蔽呈现更符合于尚实的天人关系,是创造美的终极旨归。“现量”理论的生命律动在很大程度上源于其辩证关系中审美张力的释放,各要素聚散、开敞,遥相呼应于气之幽隐,异质力量的游移、映衬共同建构出极具紧张感的美学场域,美之生成性、动态性跃然胸中。由上可见,船山并未囿于佛学旧理,而是大胆地对“现量”的内涵本质及运思进行了富有建设性的解读,其质的规定性得到确认,自身亦具备了一定的整合性。第三章从宏观角度评述了“现量”理论的美学效应。第一节“‘现量’的理论效应”一方面通过比对其与船山美学体系中美论、审美心理论、审美表现论、审美教育论等部分的关系,将之定位于内部基础性的角色,另一方面又将其与文艺美学史上直觉感兴、心目关系、审美理想等船山美学系统外的问题一并探讨,展现了“现量”理论极具参与性、发展性的审美特点及非凡的学术活力;第二节“‘现量’的实践效应”指出了该范畴在船山诗学批评中的指导作用,弘扬了以真向美、情感瞬达的美学“诚”意。同时,本文还尝试将“现量”理论投诸于船山个人的创作实践,在基本认可其作用的同时亦发现了它行动力的不足;第三节“对于‘现量’理论的综合评价与反思”以综观全文的视角简评了“现量”理论的效应展示,充分肯定了其凭借向真探美、美善相济趣味探索美学的独特突围方式,显示了它客观经验性和自我本位的色彩,但也同时指出其融合政教、浸染伦理的特点及理想主义、神秘色彩等历史局限,力求内化其极具启发性的诗意直觉,探寻纯美发展的正确方向。显然,“现量”理论已成为日常逻辑与美学逻辑彼此打通的审美主体性代言,更成就了儒释文化交流对话的典型,为新世纪中国美学的寻根尝试与话语重建指明了方向。
[Abstract]:Wang Chuanshan is a famous scholar with Gu Yanwu, Huang Zongxi and "the three thinkers in the late Ming and the early Qing". The academic contribution of the Encyclopedia of philosophy, aesthetics, literature, history and other Encyclopedia has played an important role in the new interpretation of Confucianism in the same time. "Present quantity" theory is a very representative branch of the ship's scholarship. It comes from Buddhism and is in time and space. The basic norms of the theory of aesthetic practice, such as sex, intuition and full of "sincerity", have become the basic norms for the theory of beauty and aesthetic expressionism. At present, the research on it is mainly focused on the fields of lexical interpretation, poetic elucidation and so on, and the psychological mechanism and aesthetic characterization of its own are not fully discussed. The linguistic context of the theory of "the present quantity" and the meaning of the times, the storage of regional culture, the origin of literature and art, its connotation and aesthetic characteristics are studied, and the aesthetic effects of the "present quantity" theory are finally measured. The article is divided into four parts: the introduction first points out that the theory of "present quantity" is Wang Chuanshan's Aesthetics There are only a few original concepts in the system, which originally learned from Buddhism in ancient India, the meaning of Buddhism in the first place, and the aesthetic new quality in the transformation of the Confucian School of Chuanshan. Secondly, the ontological and relational study of the theory of "the present quantity" has clearly marked the role of the present scholar in the aesthetics of Chuanshan. There are still shortcomings in the study of aesthetic effect in the practice of body. Finally, the thesis adopts the aesthetic interpretation method of large field of vision, multi cross and combination of point and surface, which makes the origin of Buddhism, the context of the Ming and Qing Dynasties, and the interest of Hunan studies a profound historical and cultural basis for the study of "the present quantity" ontology, and the elucidation of its beauty by the elucidation of the aesthetic connotation and characteristics. In the first chapter, the "realistic cultural strategy" of "academic return to the country" is considered from the social level, pointing out the current situation in the Ming and Qing Dynasties, the growing economy of new factors, the comprehensive culture and the extremely bully blood. The nature of regional Hunan has greatly influenced the birth of the theory of "the present quantity", and promoted it to harmonization of political care and strong personality in deep practice, to seek truth and pragmatism, to revive the basic attributes of classical Confucianism, and to explore the academic level in the second section. And the "present quantity" theory is the product of the Confucian benevolence, the Taoist carefree and the Buddha's direct realization, such as the multi field of view, such as the master Wang Zhang, the abandonment of Cheng Zhu, the repulsion of Lu Wang, the six classics of the six classics, the deep family learning, the immersion of the study of Huxiang, the beauty of the form of the Ming Qingwen's altar, the beauty of the reunification and the "seeking the beauty of the centripetal". As a result, the confusion of the Ming and Qing Dynasties and the complex academic origin have led to the fact that the theory of "the present quantity" is true and true, and that Confucians have become aesthetic purposes and seek "sincerity" as aesthetic interest. The clear sense of reality is reflected with the aesthetic pleasing, and the organic structure of the "present quantity" theory is constructed together in second chapters. The connotation and characteristics of the theory of "present quantity" are clarified. The first section "the aesthetic connotation of the theory of 'present quantity" is basically referenced to the division of the definition of the three quantity of phase Zong Luo. The meaning of "present" indicates that the source of aesthetic pleasure must begin from the present, that the "ready-made" meaning and the sense of beauty depend on the intuition of intuition, and the meaning of "showing truth" shows aesthetic reality. The practice must follow the ideal model of "sincerity" and return to the true existence. The three party's meaning phase values are taken, and the "present quantity" of the law and phase is rejected as the representation of wisdom, the posture of Confucianism and the beauty is presented. The second section "the aesthetic characteristics of" the theory of "the present quantity" analyzes its basic characteristics in the deeper aesthetic field, and points out that the theory of "present quantity" is of great importance. The sense of high time and space intuition at the specific level is the condition for the aesthetic activity, the way of aesthetic experience is made, and it is more distinct for me and freedom. The true relationship between heaven and man is the ultimate goal of creating beauty. The life rhythm of the theory of "the present quantity" is largely derived from the release of aesthetic tension in its dialectical relationship. All the elements are scattered, open, and echoing to the hidden of Qi, the migration of heterogeneous forces, and the formation of the aesthetic field of great tension, the generative and dynamic nature of beauty. It can be seen from the top of the mind that Chuanshan has not been confined to the old Buddhist doctrine, but boldly carried out a constructive interpretation of the essence of the content of "the present quantity" and its operation. The quality of its quality is confirmed and its own integration. The third chapter reviews the aesthetic effect of the theory of "present quantity" from the macro perspective. On the one hand, the theoretical effect of quantity 'is compared with the Sino American theory of aesthetic system, aesthetic psychology, aesthetic expressionism and aesthetic education. On the other hand, it is related to the inner basic role of the aesthetic system, and on the other hand, the problems outside the aesthetic system of Chuanshan aesthetic system, such as intuition, heart and beauty, and so on in the history of literature and art. The second section, "the practical effect of" the "present quantity", points out the guiding role of this category in the criticism of Chuanshan poetics, and has carried forward the "sincerity" in the aesthetics of "true" to the beauty and the instant of emotion. At the same time, this article also tries to make "the present quantity". The theory has been put to the creation practice of the individual of Chuanshan, and it has also found its inadequacy in the basic recognition of its role. The third section "the comprehensive evaluation and Reflection on the theory of 'present quantity" is a brief review of the effect of the theory of "the present quantity" in a comprehensive view of the full text. The unique breakthrough method of cable aesthetics shows its objective empiricism and self standard color, but it also points out the historical limitations of its integration of politics and religion, the characteristics of impregnation ethics, idealism, mystical color and so on, and tries to internalize its inspiring poetic intuition and explore the correct direction of pure beauty exhibition. Obviously, "present quantity" theory has become a day. The aesthetic subject endorsement of the common logic and the aesthetic logic has made the cultural exchange and dialogue typical of the Confucianism and Buddhism, and pointed out the direction for the root seeking and reconstructing of the Chinese aesthetics in the new century.

【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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