【摘要】：在現(xiàn)代形態(tài)的中國(guó)美學(xué)和藝術(shù)史研究中,傳統(tǒng)工藝性器具的價(jià)值一般分為兩種:一是實(shí)用,二是審美。但就中國(guó)上古器具作為禮器的特性看,它更重要的價(jià)值卻在于象征。換言之,在中國(guó)社會(huì)早期,人類制器的目的,絕不僅僅是為了實(shí)用和好看,而是要以此為基礎(chǔ)引申出更深廣的哲學(xué)意義。像《周易》的"制器尚象"和孔子的"器以藏禮"之論,均是將器具作為天地人神之思的載體來(lái)看待。同時(shí),由于器具價(jià)值所展現(xiàn)的哲學(xué)性,與此直接相關(guān)的器具制作活動(dòng)也不是一般的技術(shù)或藝術(shù)勞動(dòng),而是包含著對(duì)道器和道技關(guān)系的深刻省察。這樣,對(duì)于中國(guó)先秦器具及相關(guān)制作技藝的哲學(xué)研究,就成為對(duì)一般美學(xué)和藝術(shù)學(xué)研究的重要深化和拓展。
[Abstract]:In the study of Chinese aesthetics and art history in modern form, the value of traditional craftsmanship is generally divided into two kinds: one is practical, the other is aesthetic. But in terms of the characteristics of ancient Chinese utensils as ritual vessels, its more important value lies in symbolism. In other words, in the early stage of Chinese society, the purpose of the human machine was not only to be practical and good-looking, but also to extend a deeper philosophical meaning. As in the Book of changes, the theory of "making apparatus is still like" and Confucius's "Zang Li" is regarded as the carrier of the thought of God in heaven, earth and man. At the same time, because of the philosophical nature of the appliance value, the instrument making activity directly related to it is not a general technical or artistic labor, but contains a profound examination of the relationship between Tao and Taoism. Thus, the philosophical study of Chinese pre-Qin utensils and related production techniques has become an important deepening and expanding of general aesthetics and art studies.
【作者單位】： 北京師范大學(xué)哲學(xué)學(xué)院;
【基金】：中央高�；究蒲袠I(yè)務(wù)費(fèi)專項(xiàng)資金資助項(xiàng)目《傳承與弘揚(yáng)中華美學(xué)精神研究》(批準(zhǔn)號(hào):SKZZB2015039) 北京舞蹈學(xué)院人才強(qiáng)教特聘客座專家計(jì)劃項(xiàng)目《中國(guó)古典樂(lè)舞的早期形式與哲學(xué)生成》(2016年)
【分類號(hào)】：B83-092
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本文編號(hào)：2339201