中国古典美学中的“悲”

发布时间：2018-06-29 10:20

本文选题：中国古典美学 + 悲意识　；参考：《郑州大学》2005年硕士论文

【摘要】：直面中国古典文学艺术作品的现实,可以发现一种特殊的艺术经验:即大量诗词和古文中流露出来的人生如寄、韶华不在、“悲从中来”的沉痛之感,并且此一经验脉脉相续,构成了中国古典美学审美经验的一大特色。由于它饱含着莫可如何而又挥之不去的沉痛意味,可强为之名日“悲”。“悲”植根于人的个体存在,是在古文学中凝出的以人生悲伤体验为主要内容的个体存在经验。因此,从这个意义上也可以说它是一种特殊的审美经验。本文将这种艺术经验从中国古典文学作品中发掘出来,给予现象上的充分描述,集中地探讨了《诗经》、《楚辞》、汉魏之际和晋唐时期的悲意识,力图揭示出中国古人一种特殊的审美意识状况。如何从哲学美学的角度解释古典美学这一特殊的审美经验,即有古典美学理论研究暴露出了它的局限。从悲意识产生的根源上来考察,可以将原因追溯到有限个体的原初存在,这也就是从存在论的视角来考察。人首先是作为一个有限个体而存在的,有限个体依凭他的感官得来的就是这么一种悲的体验,即悲是一种人生在世的存在经验。而以道德为主的古代文化传统极力将这一点抹去,它将人的存在定位在道德层面上,以为关涉群体伦理的道德才是人的存在事实,并进一步认定人的道德属性是与生俱来的。在具有鲜明乐生情怀的道德理想的烛照下,整个文化都呈现出一种乐的色调。其实,人之存在的个体事实是难以遮蔽的,它不依主流文化倾向而转移,有限个体之人的非道德存在比道德存在更具有先在性,关于它的经验正是悲。也只有于人的个体存在上才能理解,为何在中国主流道德文化的乐生传统中,会出现沉痛的悲意识。总之,在中国文化和哲学美学中,道德存在生出了乐感,非道德存在生出了悲感;前者居于主流,是显在的,后者则是潜在于深层的个体存在经验;悲和乐的交织构成了中国古代审美意识的整全。
[Abstract]:Facing the reality of Chinese classical literature and art works, we can find a special artistic experience: such as a large number of poems and ancient prose revealed in life such as send, Shaohua is not, "sadness comes from the" deep feeling, and this experience continues. It constitutes a major feature of aesthetic experience in Chinese classical aesthetics. Because it is full of how and lingering pain, can be better known as the day "sad." "sadness" is rooted in the individual existence of man and is the individual existence experience in ancient literature with the sad experience of life as the main content. Therefore, in this sense, it can also be said to be a special aesthetic experience. This article excavates this kind of artistic experience from the Chinese classical literature works, gives the phenomenon the full description, has discussed the "Book of songs", "Chu ci", the Han and Wei period and the Jin and Tang dynasties' sad consciousness, Trying to reveal a special aesthetic consciousness of ancient Chinese. How to explain the special aesthetic experience of classical aesthetics from the angle of philosophical aesthetics, that is, the study of classical aesthetics theory exposes its limitations. From the origin of tragic consciousness, we can trace the reason to the original existence of limited individual, which is from the perspective of existentialism. Man first exists as a finite individual, and the limited individual, based on his senses, is a sad experience, that is, sadness is a living experience of life. The ancient cultural tradition, which is based on morality, tries its best to erase this point. It orientates the existence of human beings on the moral level, thinks that the morality concerned with group ethics is the fact of existence of human beings, and further determines that the moral attributes of human beings are innate. Under the candlelight of moral ideal, the whole culture presents a kind of music tone. In fact, the individual fact of human existence is difficult to hide, it does not transfer according to the mainstream cultural tendency, the immoral existence of the limited individual is more preemptive than the moral existence, and the experience about it is just sad. Only in the individual existence can we understand why there is a sad sense of sadness in the tradition of Chinese mainstream moral culture. In short, in Chinese culture and philosophical aesthetics, moral existence gives rise to a sense of music, while non-moral existence gives birth to a sense of sadness. The interweaving of sadness and music constitutes the perfection of aesthetic consciousness in ancient China.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：B83

【引证文献】