【摘要】：中國傳統(tǒng)節(jié)日,作為社會生活中的重要文化現(xiàn)象,它不僅擁有豐富的文化內(nèi)涵,更具有獨特的審美意蘊。以往關(guān)于傳統(tǒng)節(jié)日的研究主要集中在民俗學(xué)、文化學(xué)等方面,而對于節(jié)日本身所具有的生命精神的研究還較為缺失。本文以期通過節(jié)日在日常生活中的感性顯現(xiàn),來展現(xiàn)循環(huán)往復(fù)、生生不息的生命精神。 本文以傳統(tǒng)節(jié)日作為研究對象,以節(jié)日的特殊時間性為線索,在中國獨特的生命循環(huán)模式——春生、夏長、秋收、冬藏的基礎(chǔ)上,從中國傳統(tǒng)生命美學(xué)的角度對春節(jié)、端午節(jié)、中秋節(jié)和臘月節(jié)展開了較為全面而深入的研究,在對傳統(tǒng)節(jié)日文化內(nèi)涵進(jìn)行探索的同時,考察傳統(tǒng)節(jié)日所具有的獨特審美意蘊,揭示節(jié)日對人生的重要意義,在此基礎(chǔ)上把文章的主體部分劃分為四章： 第一章為“萌生：春節(jié)的民俗文化與審美精神”,以中國的農(nóng)歷(夏歷)時間為標(biāo)準(zhǔn),以春季為時間為背景,從一系列的春季傳統(tǒng)節(jié)日如春節(jié)、立春、人日、元宵節(jié)、天穿節(jié)、填倉節(jié)、晦日、中和節(jié)、春社日、春分、佛出家日、花朝節(jié)、觀音誕、上巳節(jié)、寒食節(jié)、清明節(jié)等等中選取最具代表性的春節(jié)作為主要的審美對象,從考察它的歷史起源,節(jié)期規(guī)定和節(jié)俗活動等方面的內(nèi)容入手,聯(lián)系實際生活經(jīng)驗來分析它們的文化含義和審美蘊意,通過一系列的年節(jié)活動及儀式,展示在春回大地,萬物萌生的生命狀態(tài)下生生不息、新新不已的生命精神。 第二章為“達(dá)生：端午節(jié)的文化變遷及審美追求”,本章以最具夏季節(jié)日代表的端午節(jié)為審美對象,從考察它的歷史起源、節(jié)期和節(jié)俗等內(nèi)容入手,來分析端午“求真”、“向善”、“為美”的審美文化內(nèi)涵,繼而表現(xiàn)夏之絢麗多彩的生命姿態(tài),最終實現(xiàn)求和助生的美好愿望。 第三章為“衛(wèi)生：中秋節(jié)的文化內(nèi)涵與審美理想”,本章主要考察最具秋季節(jié)日代表的中秋節(jié),在對它的歷史起源、節(jié)期、節(jié)俗等內(nèi)容的考察中,將重點指向那神奇曼妙的各種月宮神話和寓意深遠(yuǎn)的民間月餅,在享受神奇的同時,感受生生的美妙；在品嘗美味的當(dāng)下,演繹“團(tuán)圓”的理想。透過對生生之美的體驗和“團(tuán)圓”理念的感悟,來實現(xiàn)靜養(yǎng)的人生理想。 第四章為“重生：臘月節(jié)的民俗文化及審美境界”,以冬季傳統(tǒng)節(jié)日的典型代表臘月節(jié)為審美對象,以它們各自的歷史起源、節(jié)期、節(jié)俗為著眼點,分別從人對物的外在超越、人自身的人格完善、人與自然的內(nèi)在統(tǒng)一等三個層面,來展現(xiàn)和諧之美的生命境界,最終實現(xiàn)生命在嚴(yán)酷寒冬中的重生。 總之,在中國,傳統(tǒng)節(jié)日作為生命符號,它蘊含生生不息、無往不復(fù)的獨特生命精神,擁有真善美完美結(jié)合的審美追求,體現(xiàn)生生與團(tuán)圓的審美理想,關(guān)照和諧大同的審美境界,日常生活中對生命的象征,是無處不在,無處不有的,是生活永恒的主題。
[Abstract]:As an important cultural phenomenon in social life, Chinese traditional festivals not only have rich cultural connotations, but also have unique aesthetic connotations. In the past, the study of traditional festivals mainly focused on folklore and culturology, but the study on the life spirit of the festival itself is still relatively lacking. This paper hopes to show the cycle of life spirit through the perceptual manifestation of festivals in daily life. This article takes the traditional festival as the research object, takes the special time of the festival as the clue, on the basis of the Chinese unique life cycle pattern-spring, summer long, autumn harvest, winter Tibet, from the Chinese traditional life esthetics angle to the Spring Festival, the Dragon Boat Festival, The Mid-Autumn Festival and the 12th Moon Festival have carried out a more comprehensive and in-depth study. While exploring the cultural connotations of the traditional festivals, the unique aesthetic implications of the traditional festivals have been investigated, and the significance of the festivals to life has been revealed. On this basis, the main part of the article is divided into four chapters: the first chapter is "initiation: folk Culture and Aesthetic Spirit of Spring Festival", with Chinese lunar calendar (summer calendar) as the standard and spring as the background. From a series of traditional spring festivals such as the Spring Festival, the Beginning of Spring, people's Day, Lantern Festival, Tiantian Festival, Silo filling Festival, obscure Day, Central Festival, Spring Social Day, the Spring Equinox, Buddhist Monastic Day, Flower Festival, Guanyin Birthday, Shangsi Festival, Cold Food Festival, Ching Ming Festival and so on selected the most representative Spring Festival as the main aesthetic object, from its historical origin, festival regulations and festival activities and other aspects of the content, Through a series of annual activities and rituals, this paper analyzes their cultural meaning and aesthetic implication by connecting with their actual life experience, and displays the new life spirit under the state of life that spring returns to the earth and all things sprout. The second chapter is "Dasheng: the cultural change and aesthetic pursuit of the Dragon Boat Festival". This chapter takes the Dragon Boat Festival, which is the most representative summer festival, as the aesthetic object, starting with the historical origin, the festival period and the festival vulgarity, to analyze the Dragon Boat Festival "seeking truth". The aesthetic cultural connotation of "toward goodness" and "beauty for beauty", then shows the colorful life posture of summer, and finally realizes the good desire of seeking and helping living. The third chapter is "Health: the Cultural connotation and Aesthetic ideal of the Mid-Autumn Festival". This chapter mainly examines the Mid-Autumn Festival, which is the most representative of the Autumn Festival, in the investigation of its historical origin, festival period, festival customs, etc. The focus is on the mysterious and graceful mythology of the Moon Palace and the profound meaning of the folk moon cakes, enjoying the magic and feeling the beauty of life and life at the same time, and deducing the ideal of "reunion" at the moment of delicious taste. Through the experience of the beauty of life and the idea of reunion, to realize the ideal of quiet life. The fourth chapter is "rebirth: the folk culture and aesthetic state of the lunar festival", taking the typical representative of the traditional winter festival as the aesthetic object, taking their respective historical origin, the festival period, the festival custom as the starting point, respectively from the person to the physical external surpassing, The perfection of man's own personality and the inner unity of man and nature show the life realm of harmonious beauty and finally realize the rebirth of life in the harsh winter. In short, in China, as a symbol of life, traditional festivals contain the unique life spirit, which has the aesthetic pursuit of perfect combination of truth, good and beauty, and embodies the aesthetic ideal of life and reunion. Taking care of the aesthetic realm of harmony and harmony, the symbol of life in daily life, is everywhere, is the eternal theme of life.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：B834.3

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