“畅神”说与中国传统美学精神

发布时间：2018-06-30 06:27

本文选题：中国 + 美学　；参考：《郑州大学》2003年硕士论文

【摘要】：美学意义上的“畅神”说，是产生于道家哲学之上的一种自然审美观。它是以人的精神自由为出发点，在摆脱功利欲求杂念的状态下，以超然的心境去观照自然物的审美原则。在审美观照中，主体与自然内在交融，在自然与艺术中怡悦情性，展畅精神，由此而获得精神的审美享受。我国在对于自然的审美认识上，除了在原始社会时期人们对于自然美的强调“致用”以外，在先秦时期流行的是“比德”自然审美观，魏晋南北朝时期又出现了“畅神”自然审美观。由“致用”、“比德”到“畅神”自然审美观的发展，标志着我国古代的自然审美活动在当时发生了历史性的变化。自然审美意识的进一步自觉和成熟，不但积极地推动了当时文艺创作的发展，丰富了六朝美学思想，而且对后世的中国美学产生了积极而深刻的影响。一、中国古代自然审美理论的发展中国古代自然审美观经历了一个由自在状态到自觉状态的理论发展过程，即经历了实用——宗教崇拜——比德——畅神这一历程，这一历程也是自然山水不断审美化的过程。 (一)“致用”：以实用、宗教崇拜的观点对待自然山水在原始人那时，美的观念是比较模糊的，先民们以事物是否对人有明显的实用价值作为美的标准。最初成为人们审美对象的自然物，都是与原始生产实践和生活方式密切相关的自然物。狩猎时代的人们以兽皮、兽骨、羽毛等动物“零件”来装饰自己，，却满眼不见盛开的鲜花。以自然宗教的态度来对待自然山水，从某种意义上说也是一种自然山水尚用观的变种，只不过因山水对人们生活的作用太大而被神秘化了。 (二)“比德”：以道德的善来比附自然山水 “比德”说是春秋战国时期出现的一种自然美观点。所谓“比德”，即审美主体在对自然山水的审美把握中，把自然物的某些特征与人们伦理道德的某种品质相比拟，通过自然人格化，来寻求人与自然山水间内在精神的契合。“比德”审美观从自然山水的形态和特征中，联想到君子的某种人格美，特别注意到自然审美中的人伦精神，这与儒家美学中强烈的伦理色彩是分不开的。文学艺术中的“比德”最早见于《诗经》和楚辞，它与了周易》的“取象”、《诗经》及楚辞的“比兴”有着较为密切的联系。在中国美学史上，最早从理论上对“比德”进行阐述的是管仲。晏婴、老子、庄子也有“比德”的言论，不过“比德”自然审美观在儒家言论和著作中少体现的更为充分，更为多样，更具理论色彩。其中最具代表性首推孔子。孔子说“夫玉者，君子比德焉，，。又说“知者乐水，仁者乐山”。在中国美学发展史上，“比德”审美观的出现，标志着人与自然审美关系的初步建立，形成了中国古代自然审美中一种独特的精神倾向，即注重自然山水审美的人伦精神和人文精神。 (三)“畅神，，:自然山水审美意识的自觉和拓展中国文化对自然山水的认识发展到魏晋，出现了堪称人类自然山水美学史上的一场革命，人们开始把自然山水当作一个纯粹的美的客体，并在这一美的自然景物中逍遥散怀，陶冶性情。如果说，“比德”审美观主要在象征意义上来赞美自然山水，而“畅神”审美观则把审美的目光投向整个大自然，更强调人与自然物之间的情感联系。这无疑扩大了自然的审美范围，是真正美学意义上的自然审美理论。 “畅神”一词，最早见于南朝宋时期著名的绘画理论家宗炳的《画山水序》，他认为‘·山水质有而趣灵”，正是“畅神”的对象二“峰帕芜疑，云林森吵，圣贤映于绝代，万趣融其神思。余复何为哉?畅神而已。”他在这里描绘的是，人在自然的山水中忘情的游乐，获得了生命的激情和超然的心境，完全是一种自由与舒展。所以说“畅神”是一种完全意义上的审美，它所孕育的是一种审美情调，培育出的是人的审美人格。二、“畅神”说的美学意蕴 “畅神”审美观的核心是精神愉悦，它更侧重审美主体的审美心境，通过人与自然建立的精神关系，来达到对自然山水审美的超然境地，登上审美的最高层次，进入自然山水的自由王国。从宗炳的审美体验和他提出的“畅神”的概念来看，‘·畅神”蕴含着丰富的审美意蕴。一)“高情远志，，，“俯仰宇宙，，。自然审美是人类的最早的审美形态，也是人类审美意识的摇篮。人类审美趣味和能力，正是从自然审美活动中逐步产生和发展起来的。因此，审美者应具有高尚的品格和志趣，深厚的艺术修养，丰富的审美经验，广博的自然科学和社会科学知识，性好自然山水。 (二)“澄怀味象，，，“应会感神”。审美者深入自然山水，“栖丘饮谷”，通过“身所盘桓，应物”、“澄怀味象”，“应目会心，应会感神”的内心活动上求得同化和融会，物我相亲而相忘，陶冶于自然之中目所绸缪”的审美活动，经过“含道自然往复，使主客之间在生命本源神思浩荡，产生丰富的审美想象。 (三)“物我同化”，“神超理得，，。山水审美的“物我同化”、“神超理得”，是指审美主体认识和把握客体
[Abstract]:The aesthetic meaning of " Chang Shen " is a kind of natural aesthetics which is based on Taoist philosophy . It is the starting point of human spirit freedom . In the state of getting rid of the desire of utility , the aesthetic principle of natural objects is taken out with transcendental mood . In the aesthetic light , the main body and the natural intrinsic blending , in the nature and the art delight in the emotion , the open mind , thus obtaining the aesthetic enjoyment of the spirit .

In addition to the emphasis on natural beauty in primitive society during the period of pre - Qin period , the natural aesthetic appearance of " Changshen " , which is popular in the period of pre - Qin period , marked the historic change of natural aesthetic activities in ancient China .

First , the Development of Ancient Chinese Natural Aesthetic Theory

The natural aesthetic experience in ancient China has experienced a theoretical development process from the state to the conscious state , that is , through the process of practical _ religious worship _ comparison _ smooth God , which is also the process of the continuous aestheticization of natural mountain water .

( 1 ) " To be used " : Treat natural mountain water with the view of practical and religious worship

At the time of primitive man , the idea of beauty is comparatively vague , and the people have obvious practical value as the standard of beauty . They are the natural things which are closely related to the original production practice and the way of life . People in the hunting age decorate themselves with animal skins , animal bones , feathers and other animals , but they are full of fresh flowers .

Natural mountain water is treated with the attitude of natural religion , in a sense , it is also a kind of variation of natural landscape , but because of mountains and water , people ' s life is too large to be mystified .

( II ) " Byrd " : By virtue of virtue , natural mountain water is to be attached

" Byrd " is a kind of natural beauty in the period of Spring and Autumn and Warring States Period . The so - called " Byrd " , that is , the aesthetic subject in the aesthetic grasp of natural mountain water , compares certain characteristics of natural things with certain qualities of people ' s ethics . Through natural personification , we seek the inner spirit of man and nature .

The " Byrd " in the literature and art is first found in the poem of poetry and the Chu Ci , which is in harmony with Zhou Yi ' s " taking the elephant " , and the poem of poetry is poetry and Chu .

In the history of Chinese aesthetics , the first in the history of Chinese aesthetics , the first from the theory to " analogy " is the pipe

Yan Ying , Lao Zi and Zhuang Zi also have " Beard " speech , but " Bader " natural aesthetics is less in Confucianism ' s speech and work

More fully , more varied and more theoretical . Among them , the most representative first Confucius .

Confucius said , " Fu - yu , the gentleman is more than de - minded , " . And he said , " Well - known people , music and water , " he said .

In the history of Chinese aesthetics development , the appearance of " bides " aesthetic appearance marks the preliminary establishment of the aesthetic relation between man and nature ,

It is a unique spiritual tendency in ancient Chinese natural aesthetics , that is , the human spirit and the humanistic spirit that pay attention to the aesthetic of nature mountains and water .

( 3 ) " Chang Shen , " : Consciousness and Development of Aesthetic Consciousness of Natural Landscape Water In the Wei and Jin dynasties , the Chinese culture has developed a revolution in the history of human nature mountains and water . People began to treat natural mountain water as a pure object of beauty , and in the natural scene of beauty , it was free to go away , and edify . On the other hand , the aesthetic appearance of " Byrd " is mainly symbolic in praise of nature mountains and water , while the aesthetic appearance of " Chang Shen " is aesthetic .

Looking at nature and emphasizing the emotional connection between man and nature , this undoubtedly expands the aesthetic scope of nature ,

It is the natural aesthetic theory in the sense of true aesthetics .
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：I01

【引证文献】