兰亭雅集审美经验研究

发布时间：2018-05-12 06:37

本文选题：兰亭雅集 + 魏晋美学　；参考：《昆明理工大学》2017年硕士论文

【摘要】：兰亭雅集是东晋时期的文人审美活动,是中国古典美学在玄学时期的典型实例。以往对兰亭雅集的研究多从书法角度、历史角度和诗学角度进行,虽然也有人注意到兰亭雅集的美学意义,但这方面的研究并不全面。本文针对这一现状,以审美经验为切入角度而展开研究。就审美思想而言,兰亭雅集同时受儒家和道家的双重影响,这一点在兰亭诗文中有着明确体现,所以兰亭游兼有儒家舞雩游与道家逍遥游的特点。舞雩游是儒家治世目的达成后的终极导向,反映了从心所欲不逾矩的人格境界;逍遥游是道家在坐忘状态获得后的体物游心,反映了弃物足意的精神追求。这二者共同构筑了兰亭诗人超然的心理状态。就审美心理而言,兰亭雅集前后,情感的显隐形成了诗人情感的迁移线索:从情累到搁置情累,再到情累的回归。兰亭雅集所产生的时代笼罩着浓郁的悲情气氛,这些构成了兰亭诗人俗世生活的尘网所羁。在雅集游目体道的审美活动中,诗人们有意无意地搁置世俗社会的种种情累,因而去累和审美一起构成了雅集的两大内容。如果从审美心胸的获得来看,去累其实也是审美活动展开的必要阶段。雅集将结束时,审美愉悦的消退使得悲情重新回归,但王羲之并没有完全被情累淹没,而是通过“兴怀”的理论反思,寄希望用文字的记载,留存当日获得的审美经验,并留待此后的二次审美。就审美内容而言,兰亭雅集的主体审美对象是自然山水。自然山水在以前主要是作为比兴媒介而出现的,从魏晋起,自然开始以审美主位对象的地位出现,山水超越以往的工具论意义,获得了独立的审美价值。雅集所体现的自然审美主要表现于兰亭诗文,从写作风格看,兰亭诗文在以往比兴山水之外又发展了赋写山水的写作模式,整体诗风呈现出简淡的审美倾向。雅集中的自然审美刁不止于山水的形式层面,还重视山水背后的自然之境,也即是玄理,兰亭审美中,山水为表象,玄理为内核,二者关系密切。尽管山水与玄理关系密切,但在兰亭诗中,景句与理句的分写却是常态。兰亭雅集中的儒道思想正体现了中国古典审美的两大方面,雅集中的去累则是对老庄虚静心斋理论的继承与实践,自然审美的出现又丰富了中国古典美学的内容。因而,兰亭雅集具有相当的美学研究价值,在中国美学思想发展史上意义重大。
[Abstract]:The Lanting Pavilion elegant collection is an aesthetic activity of the literati during the Eastern Jin Dynasty. It is a typical example of the Chinese classical aesthetics in the metaphysics period. The previous studies of the Lanting Pavilion elegant collection were carried out from the calligraphy angle, the historical angle and the poetics angle, although some people also noticed the aesthetic significance of Lanting Pavilion's elegant collection, but the research on this side is not comprehensive. This article aims at this situation. As far as the aesthetic experience is concerned, the Lanting Pavilion elegant collection is influenced by both Confucianism and Taoism as far as the aesthetic thought is concerned, which is clearly reflected in the poetry and prose of the Lanting Pavilion. Therefore, Lanting Pavilion has the characteristics of the Confucianism and Taoism and the Taoist carefree tour. There is no more than the moment of personality; the unfettered tour is the body's heart after the Daoism has forgotten the state, reflecting the spiritual pursuit of the abandonment of things and meaning. These two constitute the transcendental psychological state of the Lanting Pavilion poets. In terms of aesthetic psychology, before and after the Lanting Pavilion elegant collection, the emotion of the poet has formed the migration clues of the poet's emotion: from the feeling to the shelving. In the aesthetic activities of the Lanting Pavilion poets, the poets have unintentionally set aside the various feelings of the secular society in the aesthetic activities of the Lanting Pavilion, and thus constitute the two main contents of the elegant collection. It is also a necessary stage of aesthetic activities to get tired from the acquisition of aesthetic heart. When the elegant collection will end, the retreat of aesthetic pleasure makes the sadness return, but Wang Xizhi is not completely overwhelmed by emotion. In terms of the aesthetic content, the main aesthetic object of the aesthetic content of the Lanting Pavilion is the natural landscape. In the past, the natural landscape appeared mainly as the medium of Bi Xing. From the Wei and Jin Dynasties, the natural landscape began to appear as the object of the aesthetic theme, and the landscape surpassed the former instrumental significance and gained the independent aesthetic value. The natural beauty embodied mainly in Lanting Pavilion poetry and prose. From the writing style, Lanting Pavilion poetry and prose have developed the writing pattern of mountains and rivers in the past. The overall style of poetry presents a simple aesthetic tendency. The natural aesthetic in the elegant collection is not only in the form of landscape, but also on the natural environment behind the landscape, that is, the landscape of the landscape. In the aesthetics of Lanting Pavilion, the landscape is the image and the metaphysics is the core and the two are closely related. Although the relationship between the landscape and the metaphysics is close, in Lanting Pavilion poetry, the separation of the scenery and the sentence is normal. The Confucianism and Taoism in the Lanting Pavilion is the embodiment of the Chinese classical aesthetic aspects. The appearance of natural aesthetics has enriched the content of Chinese classical aesthetics. Therefore, the Lanting Pavilion elegant collection has considerable aesthetic value, which is of great significance in the history of the development of Chinese aesthetic thought.

【学位授予单位】：昆明理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I01

【参考文献】