回归“缘发之域”—“前二元对立”视阈下的张祥龙“意境”论探绎

发布时间：2018-05-22 13:42

本文选题：张祥龙 + 超二元　；参考：《云南大学》2011年硕士论文

【摘要】：中国古代无疑有着一个极为发达的艺术境界论传统,回顾历史,在历代对境界论不断地返本开新中,境界论蕴含愈加丰富,而其之于艺术外的许多领域的意义也不断得到发明,影响愈加广大。近现代这一百年来,王国维、朱光潜、宗白华、张世英、张祥龙等先生更是以中西会通的理论视阈开始了对“境界”论的现代阐发与建构。张祥龙先生将海德格尔存在论的境域思路引入对中国“意境论”的当代转化建构中来,并从“意境”中的“意”、“象”、“言”三方面给出了极具新意的诠释。从对海德格尔“境域”蕴含与中国“意境”论深入思索后,张先生认为在现象学的视域中,最真实者就是意境。张先生认为如果从存在现象学的缘构境域思路看,境域也即意境本身即是意义自足的,境域或曰意境中绽出的原本现象以及涌现的原本语言就是美的。这原本的现象与诗性原发之语与意义一体呈现。张先生并以此思路来重新发明物我关系,从传统的“主体”与“所有对象的集合”之间的外在关系——不管它是经验的还是先验逻辑的——转为相互缘起的,在根本处分不清你我界限的构成域式的关系。从中国当代美学的发展看,如何超越二元对立思维框架是21世纪中国艺术美学创新的基本问题。我们回顾现代“境界”论作为王国维美学思想的核心开始建立,到后来经宗白华、朱光潜、冯友兰等先生的不断转化的百年历程,不难发现其中理论上的“超二元”追求。由于时代、个人局限,各位先生的意境论现代转化多借用的是西方传统形而上实体化、概念化哲学,立论于各种现成化的预设中,因此导致了理论上的各种二元对立问题解决上的困难以及最终超越的不彻底性。张祥龙先生以现象学“境域”思路对“意境”中的缘发生成的“意”、“象”、“言”给予的当代诠释,为我们回归二元之先的缘发不隔之域,去领会“意境”,提供了重大理论和现实意义,这同时也为回应超二元困惑给出了极具意义的思索。
[Abstract]:There is no doubt that ancient China has a very developed tradition of art realm theory. Looking back on history, the theory of realm contains more and more abundant in successive dynasties, and its significance to many fields outside art has been constantly invented. The impact is growing. In the past 100 years, Mr. Wang Guowei, Zhu Guangqian, Zong Baihua, Zhang Shiying, Zhang Xianglong and so on began the modern analysis and construction of the theory of "realm" from the perspective of the Chinese and Western understanding. Zhang Xianglong introduced Heidegger's existentialism into the contemporary transformation and construction of Chinese "artistic conception", and gave a very new interpretation from "meaning", "elephant" and "speech" in "artistic conception". After thinking deeply about Heidegger's "realm" and the theory of "artistic conception" in China, Mr. Zhang thinks that in the field of phenomenology, the most real one is artistic conception. Mr. Zhang believes that if viewed from the perspective of existential phenomenology, the domain itself is self-sufficient in meaning, and the original phenomenon and the original language emerging in the realm or artistic conception are beautiful. This original phenomenon and poetic original language and meaning are presented. In this way, Mr. Zhang reinvented the relationship between the object and me, changing from the external relationship between the traditional "subject" and the "set of all objects" whether it is empirical or transcendental logic to mutual origin. In the fundamental punishment of you and my boundaries of the constituent domain of the relationship. From the development of Chinese contemporary aesthetics, it is the basic problem of Chinese art aesthetics innovation in the 21st century that how to transcend the dual opposite thinking frame. We recall that the modern "realm" theory, as the core of Wang Guowei's aesthetic thought, began to be established, and it is not difficult to find the pursuit of "super duality" in theory after a hundred years of continuous transformation by Mr. Zong Baihua, Zhu Guangqian, Feng Youlan and so on. Due to the limitations of the times and individuals, the modern transformation of the concept of artistic conception of your gentlemen is mostly borrowed from the western traditional metaphysical materialization and conceptualized philosophy, which is based on all kinds of ready-made presuppositions. Therefore, it leads to the difficulty of solving all kinds of dualistic opposites in theory and the unthoroughness of ultimate transcendence. Zhang Xianglong's contemporary interpretation of the "meaning", "image" and "speech" given in "artistic conception" by his phenomenological "realm of circumstances" mentality provides us with a way to understand the "artistic conception" by returning to the borderline of duality. It provides important theoretical and practical significance, which also gives a very meaningful thinking in response to the super-duality puzzle.
【学位授予单位】：云南大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：B83

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