本文選題：王弼 + 言意觀��； 參考：《山東師范大學(xué)》2017年碩士論文

【摘要】：王弼是魏晉時期著名的玄學(xué)家,雖然他專門論述藝術(shù)與美的言論較少,鮮有原創(chuàng)性的美學(xué)觀點(diǎn),但他卻也是中國歷史上少有的具有原發(fā)性思想的大家,且王弼處于歷史發(fā)展的節(jié)點(diǎn),因此其思想也必然帶有承上啟下的過渡性價值。中國傳統(tǒng)文論史乃至整個哲學(xué)、美學(xué)、文藝學(xué)的發(fā)展進(jìn)程中,有關(guān)言意關(guān)系問題的論辯始終貫穿其中。漢魏之際,王弼將莊子“得意忘言”的方法應(yīng)用于注解經(jīng)典、闡發(fā)義理上,進(jìn)一步拓展《周易》中“立象以盡意”的觀點(diǎn),提出“得意在忘象,得象在忘言”這一極具特色的言意觀,將言、象、意三者有機(jī)結(jié)合,自此,“言意觀”正式成形,漢代經(jīng)學(xué)由此向魏晉玄學(xué)轉(zhuǎn)變。王弼的言意觀蘊(yùn)含了遠(yuǎn)比先秦時期的言意觀點(diǎn)更為豐富的思辨色彩,這使得其“得意忘象”的哲學(xué)命題轉(zhuǎn)換為頗具審美意義的美學(xué)思想,對我國古典美學(xué)起到了深遠(yuǎn)影響。從美學(xué)角度來看,王弼的言意觀強(qiáng)調(diào)在審美活動中追求“意”的同時又不拋棄言、象,言、象、意三者是相互交融、難以分割的審美統(tǒng)一體,其中所展現(xiàn)的主客交融、虛實(shí)相生、有限與無限相統(tǒng)一的美學(xué)精髓為中國美學(xué)的建構(gòu)提供了一種獨(dú)特的審美范式。所以,若忽視王弼的言意觀,就不能將魏晉文論進(jìn)行整體的把握,不能理順中國美學(xué)的整體發(fā)展歷程。本文將嘗試立足王弼“得意忘象,得象忘言”言意觀的文化語境、魏晉時代特征等綜合要素,對其美學(xué)本質(zhì)、審美追求、美學(xué)效應(yīng)展開整體觀照,深入透析其言意觀的審美思想。本文共分為四部分:第一章對王弼的言意觀進(jìn)行整體的文化語境考察,系統(tǒng)梳理其緣起。從思想淵源上來看,王弼的言意觀向上可追溯到莊子的“得意忘言”觀點(diǎn),并且他以此方法論為出發(fā)點(diǎn)解讀《周易》,創(chuàng)造性地把《周易》中的“象”引入莊子的“得意忘言”中,提出“得意在忘象,得象在忘言”(1)的主張,系統(tǒng)論述言—象—意三層結(jié)構(gòu),使三者有機(jī)結(jié)合,正式形成“言意觀”,使得“言意之辨”成為魏晉玄學(xué)爭論的焦點(diǎn)。從社會文化角度上說,獨(dú)特的魏晉風(fēng)度催生了“言意之辨”哲學(xué)命題的美學(xué)轉(zhuǎn)換,因此,系統(tǒng)考察王弼所處的魏晉時代對研究其言意觀的美學(xué)思想具有重要意義。因此,本章從《周易》與莊子的言意思想入手,進(jìn)行由遠(yuǎn)及近、由普遍到特殊的考察,進(jìn)而挖掘王弼的言意觀生成的文化思想提前。第二章逐層分析王弼言意觀的美學(xué)本質(zhì),“得意忘象”是對“以無為本”的哲學(xué)本體論的具體實(shí)踐,是對事物的本體與屬性、內(nèi)在與表象間復(fù)雜關(guān)系的一次成功探索。生活在特殊的魏晉環(huán)境中,王弼不可避免地受到人物品藻的熏染,因此其言意觀也必然帶有評判與審美色彩。而其言意觀的美學(xué)本質(zhì)離不開言、象、意三者的審美內(nèi)涵,因此,本章將從言、象、意三者各自的審美本質(zhì)著手,對王弼的言意觀的美學(xué)本質(zhì)進(jìn)行逐層的深入探討。第三章重點(diǎn)闡明王弼言意觀的審美追求,從美學(xué)視角分析,王弼“得意忘象”的言意觀強(qiáng)調(diào)了對無限深遠(yuǎn)的美的探索。他將莊子的“天地有大美而不言”發(fā)展為“大美配天而華不作”,認(rèn)為萬物應(yīng)順自然之性,語言亦為如此,追求的是還原“意”之本真、崇尚自然之“美”。對于主觀情感的重視、獨(dú)立人格的推崇,啟發(fā)了他對人格美學(xué)的審美追求,而其“忘象”“忘言”的提出是對外在形式的超越,使言、象與“意”之間拉開了距離,體現(xiàn)了超越之美,這也是王弼“得意忘象”的言意觀極具特色的審美追求之一。第四章宏觀論述王弼言意觀的美學(xué)效應(yīng),“得意忘象”的提出緩解了“言盡意”與“言不盡意”的矛盾,實(shí)際上,取象著言以盡意與中國古典美學(xué)的重神韻意味、以形傳神的審美趣味息息相關(guān)。從現(xiàn)實(shí)意義上來說,其言意觀所顯現(xiàn)出來的美學(xué)思想加深了后世對美的本體性的認(rèn)識,不僅為形神之間找到了最為適合的契合點(diǎn),同時為主體審美感悟的呈現(xiàn)提供了可能,為士人擺脫世俗、效法自然提供了不可言說的理論支撐,催生了魏晉學(xué)者對“言外之意”的審美追求,影響著山水畫、山水詩等藝術(shù)實(shí)踐的發(fā)展。
[Abstract]:Wang Bi is a famous metaphysics in the Wei and Jin Dynasties. Although his comments on art and beauty are few, there are few original aesthetic views, but he is also one of the few people with original ideas in Chinese history, and Wang Bi is in the node of historical development, so his thought is bound to carry the transitional value of the past. In the history of the literary theory, and in the course of the development of the whole philosophy, aesthetics and literature and art, the argument about the relationship between words and meaning has always been run through. In the Han and Wei dynasties, Wang Bijiang Chuang-tzu's method of "forgetting the words" was applied to the annotation of classics, to elucidate the sense of justice and to further expand the view that "the image is intended as the best" in the Zhou Yi. In the view of "forgetting" this very distinctive concept of words and meaning, combining the words, the elephant, and the meaning of the three, from this, "the view of words" is formally formed and the Han Dynasty has changed into the metaphysics of the Wei and Jin Dynasties. Wang Bi's view of words and meaning contains a much more abundant speculative color than the ideas of the pre Qin period. Aesthetic meaning has a profound influence on the classical aesthetics of our country. From the aesthetic point of view, Wang Bi's view of words and meaning emphasizes the pursuit of "meaning" in the aesthetic activities and does not abandon the words, such as, words, images, and meaning three is an aesthetic unity which is mutually blending and inseparable, in which the subjective and objective integration, the virtual reality, the limited and the no The aesthetic essence of the unified limit provides a unique aesthetic paradigm for the construction of Chinese aesthetics. Therefore, if we ignore Wang Bi's view of words and meaning, it is impossible to grasp the whole of the literary theory of Wei and Jin, and can not straighten out the whole course of development of Chinese aesthetics. This article will try to be based on the cultural context of Wang Bi's "forget the image and forget the words". The characteristics of the characteristics of the Wei and Jin Dynasties, such as the characteristics of the aesthetic nature, aesthetic pursuit, aesthetic effect unfold the overall view, in-depth dialysis of the aesthetic ideas of his views. This article is divided into four parts: the first chapter of the overall cultural context of Wang Bi's view of the meaning of the context, systematically combing its origin. From the source of thought, Wang Bi's view of the meaning upward It can be traced back to Chuang-tzu's "forgetting the idea of forgetting the words", and he interpreted "Zhou Yi" as the starting point of this methodology and creatively introduced the "image" in the book of Zhouyi into Chuang-tzu's "forgetting words", and put forward the proposition that "the idea is in oblivion, that is like to forget the words" (1), and systematically discusses the three layers of the image and meaning, so that the three are organically combined and formally shaped. From the social and cultural point of view, the unique style of Wei and Jin has led to the aesthetic transformation of the philosophical proposition of "the differentiation of words and meanings" from the angle of social culture. Therefore, it is of great significance to systematically examine the aesthetic ideas of the Wei and Jin Dynasties in Wang Bisuo. In the second chapter, the second chapter analyzes the aesthetic essence of Wang Biyan's conception of meaning, which is the concrete practice of the philosophical ontology of "Inaction" and the noumenon and genera of things. A successful exploration of the complex relationship between nature and immanent and appearance. Living in the special Wei and Jin environment, Wang Bi is inevitably exposed to the influence of the characters and algae, so the idea of his words and meaning must also be judged and aesthetic. The aesthetic essence of his speech and meaning cannot be separated from the aesthetic connotation of the three people, such as the words, images, and meaning three. In the third chapter, the third chapter focuses on the aesthetic pursuit of Wang Biyan's conception of meaning. From the aesthetic perspective, it emphasizes the exploration of the profound and far-reaching beauty of Wang Bi from the aesthetic perspective. He developed Chuang-tzu's "heaven and earth with great beauty without saying". "Great beauty does not work with the sky". It thinks that all things should be natural and the language is also the same. It seeks to restore the true nature of the "meaning" and the "beauty" of nature. The emphasis on subjective emotion and the esteem of independent personality enlighten his aesthetic pursuit of personality aesthetics, and his "forget to forget the words" is the form of the above. In the fourth chapter, the fourth chapter expounds the aesthetic effect of Wang Biyan's conception of meaning, and the proposal of "unconsciousness" relieves the contradiction between "the meaning" and "the unintended meaning". In fact, take the image. In the sense of reality, the aesthetic thought of the idea of his speech and meaning deepens the understanding of the noumenon of beauty in the future, and not only finds the most suitable agreement between the form and God, but also the presentation of the aesthetic perception of the main body. It provided the possibility for the scholars to get rid of the secular world and provide the unspeakable theoretical support for the validity of nature, which gave birth to the aesthetic pursuit of "the meaning" of the scholars in the Wei and Jin Dynasties, and influenced the development of the artistic practice of landscape painting and landscape poetry.
【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】：B83-092

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