本文選題：莊子 + 天人　； 參考：《四川師范大學(xué)》2017年碩士論文

【摘要】：“天人”思想在中國傳統(tǒng)思想文化中占有重要地位。西周初期,“天”是主宰之天,帶有“人格神”的神權(quán)意味。春秋末期,諸子百家興起,主宰之“天”受到新思潮的沖擊和動搖。如老子,他把“天”與“道”聯(lián)系起來,動搖“天”的神權(quán)地位。之后,莊子(1)承續(xù)老子的觀點,賦予“天”以全新意義,把“天”做為一個重要的哲學(xué)與美學(xué)命題或者概念,加以使用�！肚f子》中出現(xiàn)大量“天”的指謂與帶有“天”的組合詞。莊子的“天人”說,包含了其對作為個體生命的“人”及其生命意義的關(guān)注和追問。其“天人”思想既討論了“天人”的存有方式,也討論了“天”與“人”間的審美生態(tài)關(guān)系�；诖�,本文主要從以下幾個方面展開論述:第一章主要論述“天人”觀念的歷史流變。要解讀莊子的“天人”思想,需要對所謂“天”的歷史含義進行梳理,闡明“天”在古代思想文化,尤其在莊子之前的思想文化意義,并對“天”與“道”和“天”與“人”的關(guān)系作清理,進而引出莊子的“天人”說。第二章以對“法天貴真”命題的討論展開來,論述莊子的“天人”說在人與自然的關(guān)系里的審美性。莊子以“天人”來表達人是自然的一部分,推崇自然審美,把自然放在獨立的審美對象中去考察。莊子認為,“天”“人”一體、相通并存,“人”是自然的一部分�；貧w“天人”一體,是“人”順應(yīng)自然、走出生存困境的途徑。就現(xiàn)今的美學(xué)思想看,這也是“人”在審美活動中由社會生命走向個體生命的以獲得審美自由,達成本真存有、詩意棲居的重要途徑。第三章以對“道通為一”命題的討論展開來,從“道技一體”的審美活動和“形神渾然”的審美境域等兩個方面切入,解讀莊子“天人一矣”美學(xué)命題,及其所規(guī)定的審美活動應(yīng)該達成的審美境域。莊子講“天人”,實質(zhì)上是以“天地一氣”、“道通為一”的思想把天與人、天與道,通過“氣”與“氣化”而在“一”中達到“人”與“天”的一體相通、相依相成,在審美上則體現(xiàn)為一種“游”(1),獲得一種高級的審美體驗。
[Abstract]:The thought of "Heaven and Man" plays an important role in Chinese traditional ideology and culture. In the early Western Zhou Dynasty, "Heaven" was the dominant day, with the meaning of divine power of "Personality God". At the end of the Spring and Autumn period, hundred schools of thought emerged, and the dominant "Heaven" was shaken by the new trend of thought. Laozi, for example, linked Heaven with Tao and shook the divine status of Heaven. Later, Chuang Tzu (1) continued Laozi's point of view, giving "Heaven" a new meaning and taking "Heaven" as an important philosophical and aesthetic proposition or concept. In Zhuangzi, there are a large number of "days" and "days" with a combination of words. Zhuangzi's theory of "Heaven and Man" includes his concern and questioning of "man" as an individual life and its significance. His thought of "Heaven and Man" not only discusses the existence mode of "Heaven and Man", but also discusses the aesthetic ecological relationship between "Heaven" and "Man". Based on this, this paper mainly discusses from the following aspects: the first chapter mainly discusses the historical evolution of the concept of "Heaven and Man". In order to interpret Zhuangzi's thought of "Heaven and Man", it is necessary to sort out the historical meaning of the so-called "Heaven" and clarify the significance of "Heaven" in ancient thought and culture, especially before Zhuangzi. The relationship between "Heaven" and "Tao" and "Heaven" and "Man" is cleared up, which leads to Zhuangzi's Theory of Heaven and Man. The second chapter discusses the aesthetic nature of Zhuangzi's theory of "Heaven and Man" in the relationship between man and nature. Zhuangzi expresses that man is a part of nature by "Heaven and Man". Chuang Tzu believes that heaven and man are one, and that man is a part of nature. To return to the body of Heaven and Man is the way for people to adapt to nature and get out of the predicament of existence. From the point of view of the present aesthetic thought, this is also an important way for "human" to move from social life to individual life in aesthetic activities in order to obtain aesthetic freedom, to achieve true existence and to inhabit poetically. The third chapter begins with the discussion of the proposition of "Taoism as one", from the aesthetic activities of "the integration of Taoism and technology" and from the aesthetic realm of "form and spirit", and interprets the aesthetic proposition of Zhuangzi's "one of Heaven and Man". And its stipulated aesthetic activities should achieve aesthetic realm. In essence, Zhuangzi spoke of "Heaven and Man", "Heaven and Man" and "Taoism as one". By means of "Qi" and "Gasification", Zhuangzi reached the unity of "man" and "heaven" in "one" and became mutually dependent on each other. On the other hand, it embodies a kind of "tour" and obtains a kind of advanced aesthetic experience.
【學(xué)位授予單位】：四川師范大學(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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