發(fā)布時間：2018-03-25 19:35

  本文選題：蘇軾　切入點：平淡美　出處：《山東師范大學(xué)》2017年碩士論文

【摘要】：蘇軾在青壯年時并不是十分推崇平淡之美,但其目睹了宋王朝的由盛轉(zhuǎn)衰,自身也經(jīng)歷了仕途的起起落落,這一切都讓他看透了世間的浮華而逐漸傾向于平淡之美。本文試圖將蘇軾置于宋代的時代語境中,并聯(lián)系其家庭和個人因素來分析其平淡美思想的形成基礎(chǔ),然后具體分析其平淡美思想的內(nèi)容、構(gòu)成特征以及實現(xiàn)方式等。論文的緒論部分首先梳理了平淡美的發(fā)展流變,在此基礎(chǔ)上可知“平淡美”主要有三層含義:就個人的自身修為來說,指超脫于物質(zhì)之外,保持內(nèi)心的虛靜恬淡與平和;就文學(xué)創(chuàng)作而言,要有感而發(fā),富于真情實感,而不能刻意為之;就文學(xué)風(fēng)格來講,指平易流暢、質(zhì)樸天真的形式與飽含韻味的內(nèi)容之統(tǒng)一。本文對蘇軾平淡美思想所作的討論也將基于此而展開。其次,本部分對研究現(xiàn)狀進行了簡單梳理,并點明了創(chuàng)新之處,簡要闡釋了本文的研究方法與研究思路。論文的第一部分主要探究了蘇軾平淡美思想形成的基礎(chǔ),分別就北宋的社會環(huán)境與蘇軾的家學(xué)淵源及人生經(jīng)歷等方面來闡述。首先,北宋時整個社會呈現(xiàn)內(nèi)斂狀態(tài),士人的精神變得沉靜起來,審美取向更傾向于高雅淡泊;詩文革新運動進一步發(fā)展,掃除了晚唐五代留下的靡麗之風(fēng);佛禪思想與儒道進一步相融,為蘇軾平淡美思想的發(fā)展提供了契機。其次,蘇軾生于“不樂仕宦”(范鎮(zhèn)《族譜后錄》下篇)的西蜀之地,其父蘇洵亦不喜浮艷之風(fēng),都在無形當(dāng)中影響著蘇軾的審美取向;而兒時以及貶謫時期的農(nóng)村生活讓蘇軾更加超脫淡泊,也為其最終實現(xiàn)平淡美思想提供了客觀環(huán)境;坎坷的人生經(jīng)歷促使其不斷超越現(xiàn)實、超越自己,也使其更加傾向于平淡之美。論文的第二部分為蘇軾平淡美思想的概述。首先,通過蘇軾對平淡美思想的相關(guān)闡釋,將蘇軾平淡美思想的內(nèi)涵揭示為“恬靜淡泊”、“以他平他”和“曠達超越”。其次,將“平淡”與“豪放”、“自然”兩個美學(xué)范疇進行辨正,從而更加明確平淡美的內(nèi)涵與特征。并在此基礎(chǔ)上分析了蘇軾對平淡美思想的發(fā)展:將平淡美思想由詩歌領(lǐng)域拓展到所有的藝術(shù)領(lǐng)域;明確地指出平淡美的形成是隨著人生閱歷及藝術(shù)修養(yǎng)的積累而不斷提高的自然過程;強調(diào)平淡美思想極富辯證性。論文的第三部分主要分析了蘇軾平淡美思想的構(gòu)成特征,分別從審美主體、審美對象以及審美理想三個方面具體而談。就審美主體來說,是其恬靜淡泊的審美心境,主要表現(xiàn)為審美主體的博觀約取、虛靜以待以及超然物外;就審美對象來說,是其平淡質(zhì)樸的審美形態(tài),主要表現(xiàn)為審美對象的蕭散簡遠、自然質(zhì)樸以及老境成熟之美;而就審美理想而言都指向平淡簡遠,主要由豐富的奇趣、不絕的至味以及縈繞其中的遠韻而形成廣闊的“意”域。論文的第四部分主要探討的是蘇軾平淡美思想的實現(xiàn),文章主要從文藝創(chuàng)作和人生實踐兩個方面來討論。在文藝創(chuàng)作上,主要體現(xiàn)為在題材上化俗為雅,在語言上不事雕琢,在技巧上無意于佳乃為佳;另一方面則是蘇軾苦中得以超越從而體得至味的休閑人生得以實現(xiàn),主要表現(xiàn)為蘇軾在人生中隨遇而安、物我兩忘,最終得以暢游于世。
[Abstract]:Su Shi young is not very respected plain beauty, but the Song Dynasty witnessed by Sheng Zhuanshuai, itself also experienced the ups and downs of the career, all this let him see worldly pomp and gradually tend to plain beauty. This paper tries to put Su Shi in the Song Dynasty era and context. The family and individual factors to analyze the plain thought foundation, then analyzes the plain thought content, features and implementation methods. The introduction part firstly reviews the development of rheological plain, on the basis of the "plain beauty" has three meanings: one's own repair, that detached from the material, keep your heart quiet and tranquil and peaceful; literary creation, to the emotions, and not with real feelings, deliberate; literary style, a plain and smooth, quality A unified Park naive form and full of flavor content. This paper discussed the aesthetic thought of Su Shi bland will also be based on this. Secondly, this part of the current situation of the study of simple comb, and point out the innovation, briefly explains the research methods and research ideas. In the first part of this thesis to explore the basis of the formation of Su Shi thought about the beauty of the plain, were on the Northern Song Dynasty social environment and Su Shi's life experience and erudite through paternal teaching and influence and other aspects. First, the Northern Song Dynasty when the whole society restrained state, their spirit becomes quiet, elegant aesthetic orientation tend to be indifferent; further development of literary reform movement, to the late Tang and Five Dynasties leave the luxury wind; Buddhism thought and Confucianism further integration, provides an opportunity for the development of Su Shi plain thought. Secondly, Su Shi was born in the "no official music" ("Genealogy after fan Zhen > 2) the record of his father Suxun Shu, also do not like flowery wind, in the invisible influences the aesthetic orientation of Su Shi's childhood and relegation period; and the rural life make Su Shi more detached indifferent, also provides the objective environment for the final realization of plain thought; rough life experiences make it continue to go beyond reality, beyond their own, also make them more inclined to plain beauty. The second part is an overview of Su Shi plain ideas. First, through the interpretation of Su Shi on the plain thought, the connotation of Su Shi plain thought revealed as "quiet indifferent" to his flat, "he" and "broad-minded beyond". Secondly, the "flat" and "bold", "natural" two categories of aesthetics, thus more clearly the connotation and characteristics of plain beauty. And based on the analysis of the development of Su Shi thought: plain plain MISSHA Want to expand from the field of poetry to all fields of art; clearly pointed out that the formation of plain beauty is a natural process that develops with the accumulation of life experience and artistic accomplishment; emphasizing the plain beauty of ideas is full of dialectics. The third part mainly analyzes the characteristics of Su Shi bland Macy think, from the aesthetic subject, aesthetic object and the aesthetic ideal of three aspects. On the aesthetic subject, the aesthetic state of mind is serene and simple, mainly for the aesthetic subject is erudite, quiet and for aesthetic object, be free from things of the world; the aesthetic form is plain and simple, mainly for the aesthetic object of Xiao Sanjian, the natural simplicity old and mature beauty; and aesthetic ideal are pointing to the natural, mainly by the rich interest, never to taste as well as rhyme linger among them and the formation of broad "meaning "Domain. The fourth part mainly discusses the realization of Su Shi plain is thought, this article mainly from the two aspects of literary creation and life practice to discuss. In literary and artistic creation, is mainly embodied in the theme of vulgar as the elegant, not in the language of carving in skill is good not good on the other hand; is thus beyond the body to taste the leisure life to realize Su Shi bitter, mainly for Su Shi in life things, two things I forgot, finally able to swim in the world.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.22

【參考文獻】

相關(guān)期刊論文 前10條

1 祁志祥;;風(fēng)骨與平淡:中國古代文學(xué)風(fēng)格美論[J];社會科學(xué)輯刊;2016年03期

2 鄧維明;;寄至味于澹泊——略論宋代繪畫的“平淡”審美現(xiàn)象[J];藝術(shù)評論;2013年01期

3 衡蓉蓉;;蘇軾“淡美”音樂思想的內(nèi)涵、特點與意義[J];南京藝術(shù)學(xué)院學(xué)報(音樂與表演版);2012年02期

4 張毅;;文人“墨戲”與宋詩意韻[J];中山大學(xué)學(xué)報(社會科學(xué)版);2010年04期

5 宋皓琨;;試論蘇軾的辯證詩學(xué)思想[J];陰山學(xué)刊;2008年06期

6 陳良運;;說“淡”美[J];湖南社會科學(xué);2008年02期

7 王順娣;;論宋代詩學(xué)“平淡”美的基本特征[J];浙江師范大學(xué)學(xué)報(社會科學(xué)版);2008年02期

8 鄧瑩輝;;平淡:理學(xué)文學(xué)的審美基調(diào)[J];西南民族大學(xué)學(xué)報(人文社科版);2007年09期

9 陳黨;;蘇軾書法尚意性探微[J];中山大學(xué)學(xué)報論叢;2007年05期

10 肖寒;;試論蘇軾的“自然”論文藝觀[J];社會科學(xué)輯刊;2007年02期

相關(guān)會議論文 前1條

1 周遠斌;;古詩平淡美的理論和實踐[A];古代文學(xué)理論研究（第十九輯）[C];2001年

相關(guān)博士學(xué)位論文 前1條

1 于廣杰;蘇軾文人集團研究[D];河北大學(xué);2013年

相關(guān)碩士學(xué)位論文 前10條

1 吳旭文;論蘇軾的文藝創(chuàng)作心理學(xué)思想[D];重慶師范大學(xué);2016年

2 黃蘇;蘇軾文人畫意境論[D];云南師范大學(xué);2014年

3 劉敏;中國古代文論“沖淡”范疇研究[D];湖北民族學(xué)院;2013年

4 徐敬春;蘇軾書法尚自然思想研究[D];山東師范大學(xué);2013年

5 楊佰才;中國古典文論的平淡美理想[D];延安大學(xué);2013年

6 盧寬慧;宋代“平淡”詩學(xué)觀探微[D];山東大學(xué);2013年

7 劉波;蘇軾書法思想概論[D];遼寧大學(xué);2012年

8 王偉杰;宋代陶詩評論與宋詩平淡自然審美理想之構(gòu)建[D];山東大學(xué);2012年

9 韓玲;蘇軾繪畫理論美學(xué)思想探析[D];內(nèi)蒙古師范大學(xué);2012年

10 趙毅;從蘇軾辭賦創(chuàng)作看其文藝思想[D];中國海洋大學(xué);2012年

，

本文編號：1664546