《“随物赋形”—谈苏轼文艺美学之“水之道”》

发布时间：2018-05-20 20:27

本文选题：苏轼 + 水情结　；参考：《辽宁师范大学》2010年硕士论文

【摘要】： 苏轼,以其丰富的艺术实践和博大精深的艺术理论赫然屹立于宋代文坛,他代表了中国古典美学思想的精髓。他从《易传》哲学著作中汲取了养份,在哲学思想基础上形成了对文学艺术本质和艺术规律的认识与提升。在文学和艺术批评中,苏轼爱以“水”为喻,在水的流动性的启发中,提出了“水之道”的文艺美学思想。本文旨在通过对苏轼“随物赋形”的“水之道”文艺美学思想的解析,与现代创作理论中的情感论、方法论、风格论形成呼应,以期更深入地透析苏轼的文艺美学思想主张。本文共分五个部分,其中第二、三部分是论述的重点第一部分,论述了苏轼一生与水的深厚情结,他在“水之道”中获得了生命哲思。苏轼不仅把水看成生命之源,而且将它上升到哲学层面,认为水能够“几于道”。它能够“柔外刚中”、“因物赋形”,顺性而为与天地之大道相去不远。这一哲学思想,是我们研究苏轼文艺美学思想的基础。第二部分,具体分析了苏轼的“水之道”的文艺美学思想。首先,苏轼认为创作情感应似“万斛泉源”、“不择地而出”,强调文章应是内心情感的自然流露,“不能自已而后作”。其次,在创作方法上,应“随物赋形”、“尽水之变”,以客观事物的本来面貌来创作,创作方法要随表达内容而变化,不受任何文章格式的限制与约束。同时创作中不仅要把握事物的“常形”还要符合“常理”。再次,在艺术风格上苏轼追求“平淡”“自然”的文风,要求文章要达到“文理自然,姿态横生”的艺术效果。第三部分,探寻苏轼“水之道”文艺美学思想产生的渊源。一方面苏轼明显受到中国传统的水文化影响而形成了他的文艺美学观。同时苏轼精通儒道释三家思想,他博采各家,各取所长,形成了独到的三家“水之解”,形成了自己对生命本真的阐述。再加上苏轼又受到其父苏洵关于“风行水上,涣。此亦天下之至文”这一文学创作理论的指引,故而形成了他特有的有关“水之道”的文艺美学思想的认识。第四章,针对于艺术实践,收集整理了苏轼部分寄情于山水的作品,以山水寄思乡之情,寄仕宦得失,寄生活之趣,概括总结苏轼对中国传统水文化的丰富与贡献。第五章,阐述苏轼“随物赋形”的“水之道”美学观对后世的影响,可见其在中国古典美学思想史上不可磨灭的贡献。苏轼的“水之道”文艺观使他的文艺思想呈现出独特的光芒,他丰富的文艺思想和对水文化的贡献,今天仍值得我们秉笔。
[Abstract]:Su Shi, with his rich artistic practice and extensive and profound artistic theory, stands erect in the literary world of Song Dynasty. He represents the essence of Chinese classical aesthetic thought. He drew the nourishment from the philosophical works of Yi Zhuan and formed the understanding and promotion of the essence and law of literature and art on the basis of philosophical thought. In literary and artistic criticism, Su Shi likes to use "water" as metaphor, and in the inspiration of water mobility, he puts forward the literary and artistic aesthetic thought of "the way of water". The purpose of this paper is to analyze Su Shi's literary and artistic aesthetic thought of "the way of water", which is formed in the modern creative theory, in order to analyze Su Shi's theory of literature and art aesthetics in a more thorough way, such as emotion theory, methodology theory, and style theory, in order to analyze Su Shi's theory of literature and art aesthetics more deeply. This paper is divided into five parts, among which the second and third parts are the emphases of the discussion. The first part discusses Su Shi's deep complex of life and water. Su Shi not only regarded water as the source of life, but also raised it to philosophical level. It can be "soft outside rigid", "due to the shape of things", and not far from the nature of the road to heaven and earth. This philosophical thought is the basis of our study of Su Shi's literary and artistic aesthetics. In the second part, the author analyzes Su Shi's thought of literature and art aesthetics. First of all, Su Shi thinks that the creative emotion should be like "WanDendanquanyuan", "not choosing the place", emphasizing that the article should be the natural exposition of the inner emotion, "can't do it later". Secondly, in terms of creative methods, we should "follow the shape of things" and "change as much water as possible" to create with the original appearance of objective things, and the creative methods should change with the expression of the content, and not be restricted and restricted by the format of any article. At the same time, we should not only grasp the "conformal" of things, but also conform to "common sense". Thirdly, in the artistic style, Su Shi pursues the literary style of "plain" and "nature", which requires the article to achieve the artistic effect of "nature of art, natural posture". The third part explores the origin of Su Shi's literary and artistic aesthetics. On the one hand, Su Shi was obviously influenced by Chinese traditional water culture and formed his aesthetic view of literature and art. At the same time, Su Shi was proficient in Confucianism, Taoism and Buddhism. Plus Su Shi by his father Su Xun on "popular water, Huan." This is the guide of the literary creation theory, which formed his unique understanding of the literature and art aesthetics of "the way of Water". The fourth chapter, aiming at the art practice, collects and arranges some works of Su Shi's feelings about mountains and rivers, and summarizes Su Shi's rich and contribution to Chinese traditional water culture with the feeling of homesickness, the gain and loss of official officials, the interest of life, and the summary of Su Shi's contribution to Chinese traditional water culture. In the fifth chapter, the author expounds the influence of Su Shi's aesthetic view of "the way of Water" on the history of Chinese classical aesthetics. Su Shi's view on literature and art of "the Road of Water" makes his literary and artistic thought show a unique light. His rich literary thought and his contribution to water culture are still worthy of our writing today.
【学位授予单位】：辽宁师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：I01

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