先秦“象”论与中国古典美学
发布时间：2019-07-02 19:01
【摘要】：“象”既为中国古代文化基本符号的构成，又为中国古典艺术美学的基元范畴。中国文化和美学尚象重象，其哲学起点在《易经》的卦象符号，而先秦诸子哲学美学对易象符号意义重新阐释和精神超越，则形成有关中国美学的重要思路和线索，，这就是由老庄“道”的哲学对“象”的阐释和重象外虚空、非言味象的思想所引发的意境说；以《易传》阴阳二元结构思想和“立象以尽意”、“现物取象”、“现象制器”等命题为基础的意象说；以孔荀、《乐记》为代表的象通礼乐、重政治教化但又不违艺术审美特征的“比德”和“言志”说。文章本着上述基本看法，还描述了“意境”、“意象”、“言志”说在后世美学中演进的大致过程。
[Abstract]:Elephant is not only the composition of the basic symbols of ancient Chinese culture, but also the primitive category of Chinese classical art aesthetics. The philosophical starting point of Chinese culture and aesthetics is the symbol of hexagram in the Book of changes, while the philosophical aesthetics of the pre-Qin Dynasty reinterprets the meaning of the symbol of Yi Xiang and transcends the spirit, which forms an important train of thought and clue about Chinese aesthetics, which is the artistic conception theory caused by the philosophy of Lao Zhuang's "Tao" to explain the "image" and to repeat the emptiness of the image, rather than the thought of "the taste image", while the philosophical aesthetics of the pre-Qin Dynasty reinterprets the meaning of the symbol of the change symbol and transcends the spirit. The theory of image based on the dual structure thought of yin and yang in Yi Zhuan and the proposition of "taking the image with the best intention", "taking the image from the present" and "making the phenomenon", and the theory of "Bede" and "speech will", which are represented by Confucius and Xunzi and Le Ji, which emphasize political education but do not violate the aesthetic characteristics of art, are based on the idea of yin and yang dual structure and the proposition of "standing image with the best intention", "taking the image as the present thing" and "making the phenomenon". Based on the above basic views, this paper also describes the general process of the evolution of "artistic conception", "image" and "Yan Zhi" in later aesthetics.
【作者单位】： 湖南师大中文系文艺理论教研室
【分类号】：B83-05
本文编号：2509154
[Abstract]:Elephant is not only the composition of the basic symbols of ancient Chinese culture, but also the primitive category of Chinese classical art aesthetics. The philosophical starting point of Chinese culture and aesthetics is the symbol of hexagram in the Book of changes, while the philosophical aesthetics of the pre-Qin Dynasty reinterprets the meaning of the symbol of Yi Xiang and transcends the spirit, which forms an important train of thought and clue about Chinese aesthetics, which is the artistic conception theory caused by the philosophy of Lao Zhuang's "Tao" to explain the "image" and to repeat the emptiness of the image, rather than the thought of "the taste image", while the philosophical aesthetics of the pre-Qin Dynasty reinterprets the meaning of the symbol of the change symbol and transcends the spirit. The theory of image based on the dual structure thought of yin and yang in Yi Zhuan and the proposition of "taking the image with the best intention", "taking the image from the present" and "making the phenomenon", and the theory of "Bede" and "speech will", which are represented by Confucius and Xunzi and Le Ji, which emphasize political education but do not violate the aesthetic characteristics of art, are based on the idea of yin and yang dual structure and the proposition of "standing image with the best intention", "taking the image as the present thing" and "making the phenomenon". Based on the above basic views, this paper also describes the general process of the evolution of "artistic conception", "image" and "Yan Zhi" in later aesthetics.
【作者单位】： 湖南师大中文系文艺理论教研室
【分类号】：B83-05
【相似文献】
相关博士学位论文 前1条
1 乔东义;孔颖达美学思想研究[D];复旦大学;2008年
本文编号：2509154
本文链接：https://www.wllwen.com/wenyilunwen/meixuelunwen/2509154.html
