晚明及清“生”美学思想研究

发布时间：2018-06-03 21:22

本文选题：“生” + 晚明及清　；参考：《山东师范大学》2009年硕士论文

【摘要】： 美学范畴作为美学网络上的纽结,在建构美学思想体系中有着重要的意义。各个历史时期都有其独特的美学范畴。“生”范畴的出现和演变经历了较为复杂的过程,它萌芽于唐,发展于宋,深化和成熟于明清。本文对“生”范畴的演变过程、美学内涵、形成原因作了较为全面的梳理。本文共分为四部分。第一部分对“生”的美学观念的发展历程作了简要的说明,主要从哲学和美学两个方面来分析,阐述了“生”最初由《周易》认为的“生”主要是指宇宙的生生不息,到如何演变到具有美学意味的文学创作和文学风格上的“生”。“生”作为一个独立的哲学范畴出现在《周易》中,“生生之为易”、“天地之大德曰生”,《周易》认为宇宙最崇高、最可贵的品德是“生”。春秋时期诸子百家也提倡重“生”思想,从重视人的生命发展到认识宇宙万物的生命可贵。哲学的重“生”反映到审美思想上是对“生”的追求,这种追求开始于唐代的审美趣味的转变,到了明清时期达到顶峰。第二部分重点阐述了“生”的审美内涵。从文学风格上来说,表现为形式上推陈出新,内容上不落窠臼、别具一格。而创新就意味着变化,正所谓“变则新,不变则腐。变则活,不变则板”。其次从文学创作上看,是经过生硬——雕琢——自然这三个阶段,达到自然而然、不雕不饰的创作境界。艺术作品是经过长期艰苦的艺术技法和语言媒介的修炼,才能达到炉火纯青的高度自由境界。任何成功的文艺创作,技巧的锤炼是一个必经的过程,艺术品的创作过程大多是经历了从生到熟,再由熟到生这三个阶段。从境界上说,“生”追求的就是返朴归真、不工而工的人生境界。“熟”后之“生”就是这种最高境界,是绚烂之极的平淡自然,它没有任何雕琢的痕迹,纯粹是老子所言的“大巧若拙”的境界。第三部分主要分析“生”成为晚明及清的独特审美范畴的原因。首先是明代中叶的浪漫主义文艺思潮的诞生起到了一种催化剂的作用,导致人们的审美心理发生了变化。明代中叶资本主义生产关系的萌芽和市民阶层的崛起,以及与之相对应的主体的自我观念、个性自觉和情欲迸发等文化意识的上升,再加上宋明理学对人们思想的禁锢、对情感欲求的束缚等因素酿成了一场浪漫主义思潮。这场思潮最突出的表现就是文人对自我价值的确认和追求。其次是文学创作规律的影响以及创作主体自身的原因。在一种文学风格创始的时候,它必须有一种革新的精神,而且常常是在另一种风格成熟、众人模仿成风的时候针对旧风格的流弊而加以革新。再次是哲学禅学的渗透,使求“生”思想的发展有了指引。哲学是时代的灵魂,反映着一个时代思想动态的内在脉搏,每一个时代所发生的各种重大历史变化最终必然会在哲学思想上表现出来。最后是商品经济的冲击,晚明时期出现这种审美意识,其社会根源主要是资本主义商品经济的萌芽,推动了这股思潮的蓬勃发展。第四部分说明“生”作为晚明及清的一个独特的美学范畴,并不是孤零零地存在着,它和其他的美学范畴有着千丝万缕的联系,但又有本质的不同。这部分主要对“生”和它相近意义上的“拙”、“朴”,以及它的对立面“熟”等作比较,来更加清晰的把握它的审美内涵。“生”与“熟”,是文学艺术创作的两大基本要求,“熟”是“生”的基础,“生”是“熟”的升华。只求“生”,作品艰涩难懂,不知所云。只求“熟”,作品落入窠臼,不免流俗。“拙”、“朴”与“生”一样,也被看作是一种艺术高度成熟的标志。不同主要在于“拙”、“朴”反对形式上的雕琢,以最朴实、最原初的创作来彰显作品的内涵。结语说明了“生”不仅是晚明及清代的一个重要的审美范畴,而且还说明它的审美特征对今天的文学创作和发展都有很大的借鉴意义。首先从文学艺术创作上来看,要想达到“生”境,第一要素是苦练基本功,这是艺术成就的根基和源泉。正如郑板桥所说:“四十年来画竹枝,日间挥写夜间思,冗繁削尽留清瘦,画到生时是熟时”。其次求“生”要掌握适度的原则。过分追求“生”,过分张扬主体的个性特征创作,不分良莠生吞活剥,以“生”、“怪”为取向,声称要引领时代新潮,忽略从精神意趣上去领会把握,忽视从学养上充实其内涵,那么最终的结果只能是因缺乏真功夫、真性情而成为过往云烟。
[Abstract]:The aesthetic category, as the knot on the aesthetic network, has an important meaning in the construction of aesthetic ideology. All historical periods have its unique aesthetic category. The emergence and evolution of the category of "Sheng" experienced a more complicated process. It sprout in the Tang Dynasty, developed in song, deepened and matured in the Ming and Qing Dynasties. Cheng, the aesthetic connotation, the reasons for a more comprehensive combing. This article is divided into four parts.
The first part gives a brief description of the development course of the aesthetic concept of "Sheng", mainly from two aspects of philosophy and aesthetics, and expounds that "Sheng", originally thought of "Sheng", mainly refers to the life of the universe, and how to evolve into the "birth" of literary creation and literary style with aesthetic meaning. As an independent philosophical category, it appears in the book of Zhouyi, "life is easy", "heaven and earth's virtue said", "Zhou Yi" thinks the universe is the noblest and the most valuable character is "life". All the families of all the people in the spring and Autumn period also advocated the thought of "life", from the importance of life to the life of the universe. "Sheng" reflects the pursuit of "life" in aesthetic thought. This pursuit began with the change of aesthetic interest in Tang Dynasty and reached its peak in Ming and Qing Dynasties.
The second part focuses on the aesthetic connotation of "Sheng". From the literary style, the expression is the form of the new, the content is not stereotypes and unique. And the innovation means change, the so-called "the new, the constant is the corruption, the change is the life, the same plate". Secondly, from the literary creation, it is through the rigidity - carve nature. In these three stages, the artistic creation is a high free realm through long and hard art techniques and language media. To the three stages of maturity, from maturity to life. From the realm of state, "Sheng" seeks to return to simplicity and return to the realm of life. The "life" after the "ripe" is the highest state, a brilliant and plain nature, and it has no trace of any carve, and is purely a realm of the old son's "clumsy and unclumpet".
The third part mainly analyzes the reason why "Sheng" has become the unique aesthetic category of the late Ming and Qing Dynasties. First, the birth of the romantic literary trend of thought in the middle of the Ming Dynasty was the catalyst, which led to the change of people's aesthetic psychology. The germination of the relations of production of capitalism in the middle of the Ming Dynasty and the rise of the citizens' stratum, and it's The self concept of the corresponding subject, the rise of cultural consciousness such as the consciousness of individuality and the bursting of passion, as well as the confinement of thought in the song and Ming Dynasty, and the bound of the desire for emotion, a romantic trend of thought. The most prominent manifestation of this trend of thought is the literati's recognition and pursuit of self value. The influence of the law and the cause of the creative subject itself. In the creation of a literary style, it must have a spirit of innovation, and is often innovated in the time of maturity of another style and in the imitation of the old style. Again, the penetration of the philosophy of Zen has led to the development of the idea of "life". Philosophy is the soul of the times, reflecting the internal pulse of the thought dynamics of an era. All the major historical changes in each era will inevitably be displayed in the philosophical thought. Finally, the impact of the commodity economy, the aesthetic consciousness of the late Ming Dynasty, the root of its social origin is the germination of capitalist commodity economy. The vigorous development of this trend of thought has been promoted.
The fourth part shows that "Sheng", as a unique aesthetic category of the late Ming and Qing, is not isolated and exists alone. It has countless ties with other aesthetic categories, but there are essential differences. This part mainly compares the "Sheng" and its close meaning, "awkward", "simple", and its opposite "ripe". It is more clear to grasp its aesthetic connotation. "Sheng" and "mature" are the two basic requirements of literary and artistic creation. "Maturing" is the basis of "life", "Sheng" is the sublimation of "ripe". "The same is also regarded as a symbol of high maturity of art. The difference is mainly in the" clumsy "," Park "against the form of carving, with the most simple, the most original creation to highlight the content of the works.
The conclusion shows that "Sheng" is not only an important aesthetic category in the late Ming Dynasty and the Qing Dynasty, but also shows that its aesthetic characteristics have great reference significance for today's literary creation and development. First of all, from the literary and artistic creation, the first element is to practice the basic skills of "bitter practice", which is the foundation and source of artistic achievement. As Zheng Banqiao said, "painting bamboo branches in forty years, writing night thinking in the daytime, leaving thin and thin, drawing to life when it is ripe". Secondly, seeking "Sheng" to master the appropriate principles. The new trend of the times, neglecting the spiritual interest to grasp the grasp, neglecting to enrich its connotation from the education, then the final result can only be the lack of true Kung Fu, true feelings and become the past.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：B83-09

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