【摘要】：對中國哲學的研究,從現(xiàn)代學術范式建立開始,都有某種本質規(guī)定化的傾向,而這種規(guī)定化對于一生保持不斷思想變遷的陽明思想尤其不相適應。而作為目前從美學方面切入陽明學研究的陽明心學美學而言,在研究方式上便沾染了更多這方面的弊端,不但其研究所需的陽明心學理論直接從本質化規(guī)定的陽明哲學而來,現(xiàn)成的西方美學范疇又成為了肢解陽明心學美學的工具,使得雖然目前陽明心學美學研究雖然形成了以“道德本體”為中心的研究框架,并出現(xiàn)了許多相關研究成果,但在開拓陽明學研究方面成就有限。本文的研究力圖回避既有的哲學研究范式,而選擇從美學的思考角度重新梳理與看待陽明學的原始一手文獻,不執(zhí)意于尋求其具體觀點中對于美學思想的發(fā)揮,而著重考察其思想演變背后的美學思考方式的生成。論文分為三個部分,第一部分主要是從美學視角對陽明原始文獻的重新梳理,一方面從其“格物”工夫論入手,考察其“格物”工夫不斷成熟的過程,指出陽明“格物”工夫經(jīng)歷了從強調“知”的“靜中養(yǎng)”到強調“行”的“知行合一”的不同階段,在此基礎上考察陽明認識論的不斷深化的過程,并重點通過其南贛剿匪與平定寧藩的事功考察出陽明在工夫范圍擴大的情勢之下,認識論方面出現(xiàn)的蛻變過程;而從其工夫一貫性的考察之中,通過考究其早期表面充滿矛盾的結論,認識其歷史觀方面的發(fā)展。以工夫論入手的考察,認識了陽明在美學思維方式上,堅持知行合一,格事致用的態(tài)度,反對先儒對無限天理的靜態(tài)尋求,而代之以由近及遠的事中摸索,由格物工夫以見本體,由研史工夫以見經(jīng)意,即強調了事與史在天理探求中的優(yōu)先性�？隙嗽趯嵭兄�,道亦蘊于其間,為狂者進取得道提供了工夫論上的支持。在本體論方面,本文發(fā)掘陽明早年思想,力圖串引出其良知思想的發(fā)生機緣,即其狂者進取性格與事功方面的推進。在良知本體方面,本文則力圖以陽明本身的思想脈絡體會“巖中花樹”與“心無體”等公案,而反對單純美學直覺思維方面的考察。第二部分主要是對陽明“狂者胸次”問題本身上所做的探索。陽明對儒家“狂狷”的認識隨著其工夫的不斷精進,在不同階段各有不同的面向。早先使狂任氣,其后歸本正學而對狂反思,晚年又發(fā)明出“狂者胸次”美學精神出來。本文認為背后理論基礎是中國哲學的“有”“無”問題的互轉。本文結論認為“狂者胸次”的美學精神提出,是中國“自由意志”的最初形態(tài),對于王學左派的興起與晚明思想的總體轉變方面起著莫大的先導性的作用。
[Abstract]:Since the establishment of the modern academic paradigm, the study of Chinese philosophy has a tendency to be essentially prescribed, which is particularly incompatible with Yangming's thought which keeps changing all its life. Not only does Yangming's theory of mind come directly from Yangming's philosophy which is essentially prescribed, but also the existing western aesthetic category has become a tool for dismembering Yangming's aesthetics of mind, which makes Yangming's aesthetics research form a research framework centered on "moral noumenon" at present, and there appears Xu. This paper tries to avoid the existing philosophical research paradigm, and chooses to reorganize and treat the original primary literature of Yangming Studies from the perspective of aesthetics. It does not insist on seeking the play of aesthetic ideas in its specific viewpoints, but focuses on its ideological performance. The paper is divided into three parts. The first part is mainly from the aesthetic point of view to re-sort the original literature of Yangming. On the one hand, starting from the theory of "style and object" time, it inspects the process of its "style and object" time constantly maturing, and points out that Yangming "style and object" time has gone through the "silence" of emphasizing "knowledge" The different stages from "nourishing" to "emphasizing the unity of knowledge and action" are studied on the basis of which the deepening process of Yangming's epistemology is investigated, and the epistemological transformation of Yangming under the situation of enlarging the scope of work is mainly investigated through his work of suppressing bandits and pacifying Ningfan in Southern Jiangxi Province. From the perspective of the theory of time, we can understand Yangming's aesthetic way of thinking, insisting on the unity of knowledge and action, the attitude of making things practical, and opposing the static pursuit of infinite heaven by the Confucians, instead of groping in the near and far things, the development of his historical outlook. In ontology, this paper explores the early thought of Yangming and tries to draw out the chance of the occurrence of his conscience thought, that is, his madman. In the aspect of conscience noumenon, this paper tries to understand the public cases of "flowers and trees in the rock" and "mind without body" with Yangming's own thought thread, and opposes the investigation of pure aesthetic intuitive thinking. The second part is mainly about the exploration of Yangming's "madman's bosom". With the continuous improvement of his time, the understanding of "madness" has different aspects in different stages. He made Madness at first, then returned to the orthodoxy and reflected on it. In his later years, he invented the aesthetic spirit of "madman's breast order". This paper holds that the theoretical basis behind this is the mutual transformation of the "have" and "no" problems in Chinese philosophy. The aesthetic spirit of "madman's breast" was put forward as the initial form of "free will" in China, which played a great leading role in the rise of Wang Xue's Left School and the overall change of thought in the late Ming Dynasty.
【學位授予單位】：海南師范大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：B248.2;B83-092

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相關期刊論文 前1條

1 劉繼平;;陽明心學美學與莊子美學的關系[J];群文天地;2012年16期

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本文編號：2180652