本文關(guān)鍵詞： 漢賦 自然審美 生命意蘊(yùn) 哲理內(nèi)涵 審美意識　出處：《西北大學(xué)》2015年博士論文　論文類型：學(xué)位論文

【摘要】：中國的自然審美歷史綿長,在《詩經(jīng)》中就有對自然美熱情的贊嘆,突出了“以景喻情”,“托物寄意”的自然審美方式。以孔孟為代表的儒家把對自然的欣賞上升到道德層面,提出“仁者樂山,智者樂水”的自然審美準(zhǔn)則。以老、莊為代表的道家提出“原天地之美,達(dá)萬物之理”的審美境界,認(rèn)為天地萬物的“自然而然”就是美,亦是美的最高境界。在漢賦作品中,漢賦作家們對自然意象的把握十分充分。那么,我們不禁要追問漢代,尤其是西漢審美風(fēng)尚中如何看待自然的?漢賦自然審美是否受到了儒家或者道家的自然美學(xué)思想的影響?漢賦為什么典型地代表、反應(yīng)了漢人的自然審美思想?相較于漢代的畫像石等其它藝術(shù)門類,漢賦體現(xiàn)出的自然審美有哪些獨(dú)特性,這種自然審美的獨(dú)特性是承襲了前代還是有所增益變更,對后世有無影響?基于這樣的追問,本文從以下幾個章節(jié)做出探討。第一章,對漢賦中的自然審美進(jìn)行思想探源,分析漢賦中的自然審美之所以形成其獨(dú)有特點(diǎn)的思想的因緣。梳理漢代宇宙論與漢代自然審美構(gòu)建之間的關(guān)系,從漢代宇宙論的生成、演化及天人關(guān)系三個層面,考察漢代主流社會意識形態(tài)的基本取向,并從中概括漢代宇宙論對漢賦自然審美的影響,從而奠定了漢代自然審美的內(nèi)容和審美取向。第二章,對漢賦中自然審美對象和類型進(jìn)行具體分析,填補(bǔ)了當(dāng)前研究中對漢賦自然審美對象缺乏整體性把握的遺漏。按照審美對象的不同自然性相,把漢賦中的自然審美對象分為天文氣象、地理環(huán)境、植物和動物四大類別,對其進(jìn)行詳實(shí)的歸納、分析,揭示出漢賦中自然審美體現(xiàn)的多層審美文化意蘊(yùn),第三章,對漢賦自然審美中的形式美進(jìn)行分析。這一章主要分析漢賦中自然物的形式之美、審美風(fēng)貌及其所體現(xiàn)的漢代人特有的審美趣味,即漢賦中的自然是怎么被觀察和描述的。通過對漢賦自然審美中形式美的總結(jié)、分析發(fā)現(xiàn),漢賦自然審美首先欣賞的是自然物的外在形式美和自然對象的自然特性,自然從而以其本身的面貌呈現(xiàn)于漢代人眼前。漢代自然審美擺脫先秦自然審美視野的束縛,開啟了“暢神于自然”的自然審美新階段。第四章,對漢賦中自然審美背后的生命意識進(jìn)行探尋,為全面、正確把握漢代自然審美提供理論補(bǔ)充。以漢代宇宙論為基礎(chǔ),考察漢賦自然審美中體現(xiàn)的生命哲理內(nèi)蘊(yùn)。從漢代宇宙論的“天”、“道”創(chuàng)生自然,陰陽之氣、五行、四時演化生命的觀念入手,概括出漢賦自然審美體現(xiàn)的“創(chuàng)生內(nèi)蘊(yùn)”、“化育之美”及“時間與生命意識”等生命哲理內(nèi)涵。第五章,深入分析了漢賦自然審美中體現(xiàn)的天人關(guān)系,全面解讀漢代人與自然的關(guān)系。漢賦中自然審美的天人關(guān)系受多重思想影響,既有漢代宇宙論的哲學(xué)內(nèi)涵,也有漢代宗教信仰,還有漢代人面對自然時體現(xiàn)出改造自然、享受生活的進(jìn)取精神,表現(xiàn)出漢代人欣賞自然時尊天、畏天、崇天、順天、樂天等多元化的人與自然的關(guān)系。第六章,總結(jié)、探討漢賦自然審美中體現(xiàn)出的漢代審美意識的特點(diǎn),具體表現(xiàn)為“天道自然”為萬物之美的根源、以“氣”為美的生命境界、萬物“太和”的審美理想和萬物“關(guān)聯(lián)”的審美思維模式,從而揭示漢代自然審美對中國傳統(tǒng)自然審美理論和實(shí)踐的意義。第一章探索漢賦中自然審美意識產(chǎn)生的哲學(xué)與思想淵源。第二章、第三章對漢賦中自然審美的類型、風(fēng)貌及特點(diǎn)進(jìn)行考察、歸納與解讀。第四、五章研究漢賦自然審美中所包含的豐富的哲學(xué)、文化意蘊(yùn),第六章揭示漢賦中的自然審美對漢代審美意識及美學(xué)思想的影響。結(jié)語論述研究漢代自然審美對于中國古代自然美理論建構(gòu)的意義和價值。
[Abstract]:Chinese natural aesthetic history is long, the Book of Songs will have a passion for the natural beauty of the praise, highlight the "Jing Yu", "natural aesthetic way sent to care". With Kong Meng as the representative of the Confucian appreciation of nature to rise to the level of morality, proposed a "benevolent, wise Le water" natural aesthetic standards. The old, Zhuang Taoism represented "the beauty of the world, the aesthetic realm of everything in the universe", that the universe is "natural" beauty is the highest realm of beauty in poetry works, the writers of the natural image grasp very full. So, we can not help but ask the Han Dynasty, especially the aesthetic trend in how to treat nature? The natural aesthetics is influenced by the natural aesthetic thought of Confucian or Taoist? Why han representative, reflects the Han natural aesthetic thought? Compared with the Han Dynasty stone art, Han Fu reflects the natural aesthetic which is unique, unique of this natural aesthetic is inherited the previous generation or gain change, there is no effect on later? This question is based on the following several chapters make a discussion. In the first chapter, on Han Fu the natural aesthetic ideology of Han in the analysis of natural aesthetic has formed its own unique characteristics of the idea of karma. Combing the Han Dynasty Han Dynasty cosmology and the relationship between the natural aesthetic construction of the Han Dynasty, generated from the three aspects of cosmology, evolution and the relationship of man and nature, the basic orientation of the mainstream social ideology in Han Dynasty, Han Dynasty and summarize on cosmology the natural aesthetics in which laid the natural content of aesthetic and aesthetic orientation of Han Dynasty. In the second chapter, the concrete of Han in the natural aesthetic object and type Analysis, fill in the current research on Hanfu aesthetic object lack of overall grasp of the omission. According to the different nature of aesthetic objects, the Han in the natural aesthetic objects into astronomical weather, geographical environment, plant and animal four categories, detailed summary, analysis, reveals the multilayer aesthetic culture the natural aesthetic implication, embodied in the third chapter, the natural beauty of the aesthetic form of Han Fu was analyzed. This chapter mainly analyzes the nature of Han Fu in the form of beauty, unique aesthetic style and the Han people's aesthetic interest, namely Han in the nature is how was observed and described by. Han natural aesthetic beauty of form summary, analysis found that the natural aesthetic appreciation of Han Fu first is the nature of nature form beauty and natural objects, which in its own natural look in Han Dynasty Generation of people eyes. Get rid of the shackles of pre Qin Han Dynasty natural aesthetic natural aesthetic view, open the "praising God in nature" natural aesthetic new stage. In the fourth chapter, life consciousness of the Han in the natural aesthetic behind, comprehensive, correctly grasp the Han Dynasty natural aesthetic theory supplement. Han cosmology based on Han Fu the natural aesthetics embodied in the philosophy of life. From the Han Dynasty cosmology "day", "Tao" creation of natural Qi of yin and Yang, five elements, four evolution of life conception, summarizes the Han natural aesthetic embodiment of "creation," Genesis of the connotation of "beauty" and "the consciousness of time and life and life philosophical connotation. The fifth chapter analyzes the relationship between heaven and man of Han Fu natural aesthetic, a comprehensive interpretation of the relationship between man and nature of the Han Dynasty. The relation between man and nature of natural aesthetics in Han Fu by multiple thought influence, both Han Yu On the philosophical connotation of Zhou, also the Han Dynasty religion, and Han people in the face of nature reflects the transformation of nature, enjoy life enterprising spirit, showing the Han people appreciate nature and respecting God, fear of the day, sky, Shun, Lotte diversified relationship of man and nature. In the sixth chapter, summary, discussion the characteristics of the aesthetic consciousness embodied in the aesthetic nature of Han Fu, the specific performance of "natural law" as the origin of the beauty of "Qi" as the aesthetic realm of life, everything "Wo" aesthetic ideal and the aesthetic creation of "relevance" mode of thinking, so as to reveal the nature of the Han Dynasty aesthetic China traditional aesthetics of nature the theory and practice significance. The first chapter explores the philosophical and ideological origin of natural aesthetic consciousness in Han Fu. In the second chapter, the third chapter of the natural aesthetic type of Han Fu, study style and characteristics, induction and interpretation. The fourth, fifth chapter The study of Han Fu natural aesthetic in rich philosophical, cultural connotation, the sixth chapter reveals the Han in the natural aesthetic aesthetic consciousness and aesthetic thoughts of Han Dynasty. The influence of the Han Dynasty discusses natural aesthetic significance and value for the construction of China ancient theory of natural beauty.

【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2015
【分類號】：I207.22

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