本文選題：沖突 + 融合　； 參考：《浙江大學(xué)》2008年博士論文

【摘要】： 我國是一個(gè)多民族不斷融合而成的以漢族為主體的多元一體的國家。在這個(gè)生成的過程中,各民族文化之間不斷碰撞和融合。有金一代,以漢文化為主體的中原文化與女真?zhèn)鹘y(tǒng)文化之間的沖突與融合,非常值得研究。金朝文化的變遷,以漢文化與女真(Jurchen)文化之間的關(guān)系的演進(jìn)為核心的。因此,本文以漢文化與女真文化的關(guān)系變遷為“軸心”,從總體上考察整個(gè)金代的文化。 一種文化之所以與外來文化發(fā)生沖突,在于其傳統(tǒng)文化的特質(zhì)與外來文明的特質(zhì)存在矛盾。每種文化內(nèi)在的特性,往往決定了它對外來文化的態(tài)度和時(shí)常影響著以后的文化進(jìn)程。女真原初文化具有吸納性、協(xié)同性、尚變性和尚武精神的特質(zhì)。 金朝前期發(fā)生了女真文化欲同化漢文化的女真化運(yùn)動。不過女真文化的吸納性特質(zhì),又促使女真人對漢文化廣泛地?cái)z取。入金的漢族士人,對女真文化也存在抵觸和排斥的心理。后來由于金朝對待漢族士人政策的轉(zhuǎn)變,和其他各種具體原因,大部分漢族士人成為金朝前期文化建設(shè)的中堅(jiān),為漢文化與女真文化的融合,作出了不可磨滅的貢獻(xiàn)。 一種文化對另一種文化的接受與吸納,首先導(dǎo)致這種文化內(nèi)部的沖突。這種文化內(nèi)部的爭論與斗爭,又往往與政治、經(jīng)濟(jì)利益交織在一起。內(nèi)部的沖突的結(jié)果,決定了外來文化的命運(yùn)。女真貴族分裂成以熙宗(Emperor His-tsung)、宗干、海陵(Prince of Hai-ling)等人為代表的中央官僚集團(tuán),和以宗翰、撻懶等人為代表的地方軍政集團(tuán)兩大陣營。他們的沖突不僅是政治、歷史現(xiàn)象,而且也是一種文化現(xiàn)象。最后,中央官僚集團(tuán)獲得了勝利,決定了金朝文化由女真?zhèn)鹘y(tǒng)文化向漢文化轉(zhuǎn)變。 熙宗和海陵都傾慕漢文化,渴望實(shí)現(xiàn)全面的漢化。然而文化的進(jìn)程不會是順利的,直線的。由于傳統(tǒng)文化與外來文化的沖突,文化進(jìn)程常常出現(xiàn)波動,甚至是“逆流”。 世宗(Emperor Shih-tsung)朝采取以保護(hù)女真文化與繼續(xù)漢化相綜合的方針。一方面奉行保護(hù)女真文化的政策,一方面卻又大力推進(jìn)漢文化的建設(shè),二元文化政策并舉。他的繼任者章宗(Emperor Chang-tsung)也繼承了這種文化政策。 金代后期,女真文化與漢文化之間達(dá)到了空前的融合,國家的各種制度與中原王朝大致相當(dāng)。女真人漢化修養(yǎng)與大部分漢族士大夫相似。女真統(tǒng)治者卻依然帶有民族歧視和偏見,不信任漢族人們(Han Chinese people),為了維護(hù)女真人的利益和保留女真文化,將黃河以北的猛安謀克(meng-an mou-ko)戶盡數(shù)南遷,這不僅加速了金朝的滅亡,亦加劇了女真人們與漢族人們的矛盾,加深了女真文化與漢文化沖突。 南渡(southern crossing)之后,士人們認(rèn)為金朝由盛轉(zhuǎn)衰原因,是章宗朝的奢靡浮華之風(fēng)。于是他們將矛頭對準(zhǔn)了章宗朝盛行的浮艷尖新的文學(xué)風(fēng)格。他們主張文學(xué)奇古,詩學(xué)風(fēng)雅。金朝后期的政治生態(tài),引發(fā)了文學(xué)風(fēng)格的轉(zhuǎn)變。由于創(chuàng)作主體的學(xué)養(yǎng)、人生經(jīng)歷不同,復(fù)古革新的具體途徑和追求的美學(xué)風(fēng)格不同,分成兩大文學(xué)群體。一是以趙秉文(Chao Ping wen)、元好問(Yuan Hao wen)等人為代表的重學(xué)養(yǎng),倡導(dǎo)敦厚的中和之美;一是以李純甫(Li Chin-shu)、李天英等人為代表的重天賦、主師心,追求險(xiǎn)怪奇崛之美。 我們從金朝文化變遷的歷史中得出兩個(gè)結(jié)論。其一,民族的發(fā)展歷程,這是由部落發(fā)展為政權(quán)民族,最后為文化民族,只有到了第三個(gè)階段,我們才可以說,金朝文化、女真文化真正成為中華文化不可分割的部分。其二,兩種文化的沖突與融合的過程,是兩種文化相遇之初都想同化對方,但事實(shí)證明,同化最終都不會成功。因此,兩種文化在同化失敗之后,相互調(diào)適和融合,循環(huán)反復(fù),螺旋上升。金朝的文化變遷是一個(gè)女真文化與漢文化相互融合的過程。最后形成了一種以漢文化為主體,其他文化多元共存的中華文化綜合體。
[Abstract]:China is a multi-ethnic country which is constantly integrated with the Han nationality. In this process, the cultures of all nationalities continue to collide and merge. There is a conflict and integration between the golden generation and the Chinese culture and the traditional culture of the women. The evolution of the relationship between the Chinese culture and the Jurchen culture is the core. Therefore, this article takes the relationship between the Chinese culture and the women's culture as the "axis", and investigates the whole culture of the Jin Dynasty in general.
The conflict between a culture and the foreign culture lies in the contradiction between the characteristics of its traditional culture and the characteristics of the foreign civilization. The intrinsic characteristics of each culture often determine its attitude to the foreign culture and often influence the cultural process in the future. Idiosyncrasy
In the early period of the Jin Dynasty, the women's cultural desire to assimilate the Chinese culture was taken into account. However, the absorptive characteristics of the women's culture also prompted the women to absorb the Chinese culture widely. The Han people who entered the Jin Dynasty also had the psychology of conflict and exclusion to the culture of the women. As a result, most Han intellectuals became the backbone of cultural construction in the early Jin Dynasty, and made an indelible contribution to the integration of Han culture and nu Zhen culture.
The acceptance and absorption of one culture to another culture first led to the internal conflict in this culture. The internal disputes and struggles intertwined with the political and economic interests. The outcome of the internal conflict decided the fate of the foreign culture. The Cheng Yixi His-tsung, Zong, hailing (Prince) Of Hai-ling) the central bureaucracy group represented by others, and the two camps of the local military and political groups represented by Zong Han and tart laziness. Their conflict is not only a political, historical phenomenon but also a cultural phenomenon. Finally, the central bureaucratic group won the victory, which determines the transformation of the culture of the Jin Dynasty from the traditional culture of the women to the Chinese culture.
Xinzong and hailing all tilting the culture of Han Dynasty, eager to achieve a comprehensive Sinicization. However, the process of culture will not be smooth and straight. Because of the conflict between the traditional culture and the foreign culture, the cultural process often fluctuates and even "countercurrent".
On the one hand, the Emperor Shih-tsung adopted the policy of protecting the women's culture and continued the Sinization. On the one hand, it pursued the policy of protecting the women's culture. On the one hand, it vigorously promoted the construction of Chinese culture and the two yuan cultural policy. His successor, the Emperor Chang-tsung, also inherited the cultural policy.
In the Late Jin Dynasty, there was an unprecedented integration between the Chinese culture and the Chinese culture, and the various systems of the country were roughly equivalent to the Central Plains Dynasty. The women's Han culture was similar to that of the majority of the Han people. However, the rulers still had ethnic discrimination and prejudice, and they did not trust the Han people (Han Chinese people), in order to safeguard the interests of the women. It has not only accelerated the death of the Jin Dynasty, but also aggravated the contradiction between the women and the Han people and deepened the conflict between the women's culture and the Han culture. It kept the women's culture and moved the Meng-an mou-ko households in the north of the Yellow River to the south.
After Southern crossing, the people thought that the reason of the prosperity and decline of the Jin Dynasty was the luxurious and flamboyant wind of the Zhang Zi Dynasty. So they aimed at the new literary style of the flourishing of the Zhang Zi Dynasty. They advocated the literary style and the elegance of the poetics. The political life of the Late Jin Dynasty led to the transformation of literary style. The school education, the life experience different, the concrete way and the pursuit of the aesthetic style, divided into two major literary groups. One is Zhao Bingwen (Chao Ping Wen), Yuan Haowen (Yuan Hao Wen) and others as the representative of heavy education, advocating the beauty of neutralization; one is the heavy talent represented by Li Chunfu (Li Chin-shu), Li Tianying and other people. Teacher's heart, the pursuit of strange and strange beauty.
We have drawn two conclusions from the history of the cultural changes in the Jin Dynasty. First, the development of the nation, which is the development of the tribe as a political power, and the last for the cultural nation, only to third stages, we can say that the culture of the Jin Dynasty and the culture of the women really become an inseparable part of the Chinese culture. Secondly, the conflict and melting of the two cultures. The process of integration is to assimilate each other at the beginning of the two cultures, but the fact proves that the assimilation will not eventually succeed. Therefore, after the failure of the assimilation, the two cultures adapt and merge each other, cycle repeatedly and spiral up. The cultural change of the Jin Dynasty is a process of fusion between the Chinese culture and the Chinese culture. Finally, a Chinese culture is formed. As the main body, the Chinese culture complex with other cultures coexists.
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2008
【分類號】：K246.4

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 李國華;朔州崇福寺彌陀殿壁畫研究[D];太原理工大學(xué);2011年

2 王拓;楊?yuàn)J文學(xué)創(chuàng)作研究[D];黑龍江大學(xué);2012年

3 閆曉英;山西長治地區(qū)金代墓室壁畫研究[D];山西大學(xué);2013年

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本文編號：1959867