自由之远与艺术世界的价值根源——徐复观艺术思想的扩展研究

发布时间：2018-04-28 20:59

本文选题：价值根源 + 对象化　；参考：《北京师范大学》2005年博士论文

【摘要】：价值根源即“非对象化”意义上的价值观。真正的“价值根源”意味着人的“置身其中”。在西方,从苏格拉底到康德、尼采,在价值根源问题的解决上皆有缺憾。徐复观因其丰富独特的人生经历和对于中国传统文化中孔、孟、宋明理学之“心学”传统的继承,而将“心性”把握为价值根源。“心性”即人由不断的实践工夫向“内”“回转”,而在自身现实生命中显发出自律、超验的“不容自已”的精神境界。在徐复观那里,心性分为儒学意义上的以“道德”为内涵的“心性”和老庄意义上的以“虚无”为内涵的心性。徐复观的“心性”虽然向价值根源迈进一大步,但仍不是真正的价值根源,因为徐复观的“心性”之超验是一种“内在超越”。“内在超越”的本质即是将超越境界视为“预设”,而“预设”乃是个体私人意欲“对象化”的投射。这种个体私人意欲的内涵,在徐复观的“心性”语境中是一种个体政治意欲。凋零的政治残梦化为政治意欲渗透在徐复观的“心性”中,导致了“心性”在最细微处的“对象化”,失去了价值根源的深彻性。为了寻求真正的价值根源,我们从徐复观的“心性”前进一步:与徐复观从“工夫”中向“内”“回转”相反,我们将“工夫”体验为“敬畏”,在工夫之“敬畏”中循“畏”去“远”,在去“远”的广大境界中显发出人之克胜私欲的人之“无”:境界的“远”大与人之“无”在根本上保证了人的“置身其中”性,真正的价值根源由此显现。工夫(敬畏)—去“远”—人之“无”—人的“置身其中”,这是一个“远”而复“返”的过程。在中国乐文化中,乐是声息相通的“自由”交流,但“自由”的本质不是其本身,而是对承载此“自由”的“远”大境界的开辟。因此,乐的本质即是以声息相通的“自由”性去“远”而“返”,对于价值根源作出指引与守护。在声息相通之自由交流中的“远”而复“返”,我们称之为“自由之远”。从“乐”来指认“艺术”的本质,我们认为:艺术即是在声息相通的自由之远中对于价值根源的指引与守护。在“中国艺术精神”的探讨中,徐复观认为艺术境界之所以能从“虚无”心性中涌现,是因为在“虚无”心性中显发出主客之间非因果非前后的根源性关系。然而问题在于,在此“无己”的“虚无”心性中,主体性凸显的“想象”却是核心的生发机制,这表明其“虚无”心性并非价值根源。前进一步。遵循海德格尔的指引,我们将主体凸显的“想象”向自由交流的“双向建构”中“回置”。在双向建构中显发双重涌动:自由交流对于境界的“开辟”和人在双向构建之“克己”。“开辟—克己”使人“置身其中”,价值根源呈现。在双向建构之“开辟—克己”的意义上,中国传统山水画对于价值根源的指引有所局限,而民间艺术与现代艺术则意蕴丰厚。双向建构之“开辟——克己”即是声息相通的自由之远。在对《文心雕龙》“文体”观念的探讨中。徐复观认为“文体出于情性”,而“情性”又是“心性”的向外构造,因此,“文体”出于“心性”,并以“气”为沟通“文体”与“情性(心性)”的桥梁。然而问题在于,因为徐复观“心性”本身的对象性,所以其“情性”与“气”皆是一种个体意欲的独白,因此其“文体”也必然是一种独白的话语形式。前进一步。个体意欲只有在双向建构的自由之远中才能剥除“独白”性,成为“非独白”意义上的复调个体,复调个体的艺术呈现形成复调文体。复调文体指向价值根源的开启。本文结论:唯有在呼唤“他者”,开启“远”境的声息相通之自由之远中,人置身其中的价值根源才能得以涌现。艺术的真谛即在于此声息相通的自由之远中对于价值根源的指引与守护。
[Abstract]:The source of value is the value in the meaning of " non - objectification " . The true " value of value " means a person ' s " place of life " .

In the West , from Socrates to Kant and Nietzsche , there is a deficiency in the solution of the root cause of value . Xu ' s view is based on his rich and unique experiences of life and the inheritance of the traditional culture of Chinese traditional culture .

Xu Fuguan ' s " heart " is not a real value source , but it is not a real value source because Xu ' s view of " heart " is a kind of " internal transcendent " . The essence of " internal transcendent " is the projection of an individual ' s private intention to " objectify " .

In order to find a real source of value , we are further from Xu Fuguan ' s " heart " to " turning " from " Gongfu " to " turning " from " Gongfu " to " turning " . In Chinese music culture , music is the " free " exchange of people ' s " freedom " , but the essence of " freedom " is not itself , but the essence of " freedom " is not itself , but the essence of " freedom " is " far " and " return " . Therefore , the essence of music is to guide and guard the root causes .

From " music " to identify the essence of " art " , we believe that art is the guiding and guarding of the root cause of value in the far - reaching freedom of voice and interest communication .

In the discussion of " Chinese art spirit " , Xu ' s view shows that the artistic realm can emerge from the heart of " emptiness " because the " imagination " of subjectivity is not the root cause of the non - causal relationship . However , the problem lies in that the " imagination " of subjectivity is not the root cause of the non - causal relationship between the two - way construction .

In the discussion of the concept of " style " , Xu Fuguan argues that " style is emotional " and " emotional " is an outward structure of " heart " . However , because of Xu Fuguan ' s " heart " and " heart " , the problem lies in that the " style " and " qi " are the monologue of an individual ' s desire . However , the problem lies in that the " style " and " qi " are the monologue of an individual ' s desire .

Conclusion : Only in calling the " other person " and opening " far " the freedom of the communication of the sound and interest , the value of the people can emerge . The essence of the art lies in the guiding and guarding of the root causes of the freedom of the communication .

【学位授予单位】：北京师范大学
【学位级别】：博士
【学位授予年份】：2005
【分类号】：J120.9

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