先秦“象”論與中國古典美學(xué)
發(fā)布時(shí)間：2019-07-02 19:01
【摘要】：“象”既為中國古代文化基本符號的構(gòu)成，又為中國古典藝術(shù)美學(xué)的基元范疇。中國文化和美學(xué)尚象重象，其哲學(xué)起點(diǎn)在《易經(jīng)》的卦象符號，而先秦諸子哲學(xué)美學(xué)對易象符號意義重新闡釋和精神超越，則形成有關(guān)中國美學(xué)的重要思路和線索，，這就是由老莊“道”的哲學(xué)對“象”的闡釋和重象外虛空、非言味象的思想所引發(fā)的意境說；以《易傳》陰陽二元結(jié)構(gòu)思想和“立象以盡意”、“現(xiàn)物取象”、“現(xiàn)象制器”等命題為基礎(chǔ)的意象說；以孔荀、《樂記》為代表的象通禮樂、重政治教化但又不違藝術(shù)審美特征的“比德”和“言志”說。文章本著上述基本看法，還描述了“意境”、“意象”、“言志”說在后世美學(xué)中演進(jìn)的大致過程。
[Abstract]:Elephant is not only the composition of the basic symbols of ancient Chinese culture, but also the primitive category of Chinese classical art aesthetics. The philosophical starting point of Chinese culture and aesthetics is the symbol of hexagram in the Book of changes, while the philosophical aesthetics of the pre-Qin Dynasty reinterprets the meaning of the symbol of Yi Xiang and transcends the spirit, which forms an important train of thought and clue about Chinese aesthetics, which is the artistic conception theory caused by the philosophy of Lao Zhuang's "Tao" to explain the "image" and to repeat the emptiness of the image, rather than the thought of "the taste image", while the philosophical aesthetics of the pre-Qin Dynasty reinterprets the meaning of the symbol of the change symbol and transcends the spirit. The theory of image based on the dual structure thought of yin and yang in Yi Zhuan and the proposition of "taking the image with the best intention", "taking the image from the present" and "making the phenomenon", and the theory of "Bede" and "speech will", which are represented by Confucius and Xunzi and Le Ji, which emphasize political education but do not violate the aesthetic characteristics of art, are based on the idea of yin and yang dual structure and the proposition of "standing image with the best intention", "taking the image as the present thing" and "making the phenomenon". Based on the above basic views, this paper also describes the general process of the evolution of "artistic conception", "image" and "Yan Zhi" in later aesthetics.
【作者單位】： 湖南師大中文系文藝?yán)碚摻萄惺?
【分類號】：B83-05
本文編號：2509154
[Abstract]:Elephant is not only the composition of the basic symbols of ancient Chinese culture, but also the primitive category of Chinese classical art aesthetics. The philosophical starting point of Chinese culture and aesthetics is the symbol of hexagram in the Book of changes, while the philosophical aesthetics of the pre-Qin Dynasty reinterprets the meaning of the symbol of Yi Xiang and transcends the spirit, which forms an important train of thought and clue about Chinese aesthetics, which is the artistic conception theory caused by the philosophy of Lao Zhuang's "Tao" to explain the "image" and to repeat the emptiness of the image, rather than the thought of "the taste image", while the philosophical aesthetics of the pre-Qin Dynasty reinterprets the meaning of the symbol of the change symbol and transcends the spirit. The theory of image based on the dual structure thought of yin and yang in Yi Zhuan and the proposition of "taking the image with the best intention", "taking the image from the present" and "making the phenomenon", and the theory of "Bede" and "speech will", which are represented by Confucius and Xunzi and Le Ji, which emphasize political education but do not violate the aesthetic characteristics of art, are based on the idea of yin and yang dual structure and the proposition of "standing image with the best intention", "taking the image as the present thing" and "making the phenomenon". Based on the above basic views, this paper also describes the general process of the evolution of "artistic conception", "image" and "Yan Zhi" in later aesthetics.
【作者單位】： 湖南師大中文系文藝?yán)碚摻萄惺?
【分類號】：B83-05
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相關(guān)博士學(xué)位論文 前1條
1 喬東義;孔穎達(dá)美學(xué)思想研究[D];復(fù)旦大學(xué);2008年
本文編號：2509154
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