劉熙載文藝美學(xué)思想研究
發(fā)布時間：2018-09-14 13:56
【摘要】： 劉熙載(1813—1881)是晚清著名學(xué)者、文藝?yán)碚摷�、教育家。他的著作涉及到文藝學(xué)、語言學(xué)、教育學(xué)、數(shù)學(xué)、天文學(xué)等方面,其中最為重要的是他在《藝概》和《游藝約言》等著作中闡述的文藝美學(xué)思想。本文嘗試從文藝本質(zhì)論、創(chuàng)作主體論、藝術(shù)表現(xiàn)論、藝術(shù)創(chuàng)新論和藝術(shù)鑒賞論五個方面,對劉熙載的文藝美學(xué)思想作整體把握。 第一章藝術(shù)本體論。劉熙載首先提出了“藝者,道之形也”的命題,這一觀點既融合了儒道兩家的“道”“藝”觀,同時又有更深刻的認(rèn)識,他認(rèn)為“道”與“藝”的關(guān)系乃是內(nèi)容與形式的關(guān)系。其次,又提出了“詩為天人之合”的命題,把文學(xué)藝術(shù)的本質(zhì)歸結(jié)為審美客體與審美主體的統(tǒng)一。 第二章創(chuàng)作主體論。劉熙載提出了“文,心學(xué)也”的命題,從而肯定了創(chuàng)作主體在文學(xué)藝術(shù)創(chuàng)作中的重要作用。他認(rèn)為創(chuàng)作主體要想創(chuàng)作出優(yōu)秀的文學(xué)藝術(shù)作品來,就必須提升自身的素質(zhì)。論文主要從修德、養(yǎng)氣、持志三個方面展開討論和研究。對劉熙載把“詩品”與“人品”直接對等的做法提出質(zhì)疑。 第三章藝術(shù)表現(xiàn)論。劉熙載首先認(rèn)識到文學(xué)藝術(shù)作品的構(gòu)成規(guī)律,他提出了“不一”與“一”相輔成文的觀點,認(rèn)為任何作品都是“不一”與“一”的統(tǒng)一體。其次,他又認(rèn)識到任何優(yōu)秀文學(xué)藝術(shù)作品都是“意”與“法”的完美統(tǒng)一體。論文分別對“意”和“法”進(jìn)行了展開討論,特別是對文學(xué)藝術(shù)作品的章法結(jié)構(gòu)展開了細(xì)致的研究。 第四章藝術(shù)創(chuàng)新論。劉熙載首先提出了“文之道,時為大”的命題,注意到時間因素對文學(xué)藝術(shù)的影響。其次又提出了“善用古者能變古”的觀點,強(qiáng)調(diào)創(chuàng)新不是要完全摒棄前人的成果,而是要在繼承的基礎(chǔ)上創(chuàng)新,以“用古”為手段,以“變古”為目的。再次,他又提出“闡前人所已發(fā),擴(kuò)前人所未發(fā)”的觀點。最后,劉熙載還提出了具體的創(chuàng)新方法,論文主要談?wù)摿恕扒螽愖儭�、“去陳言”、“識與力”、“想象”四種具體的創(chuàng)新方法。 第五章藝術(shù)鑒賞論。劉熙載首先看到了讀者在文學(xué)藝術(shù)的接受過程中并非是完全被動地,而是能動的參與。注意到接受主體會根據(jù)自身的喜好對作品進(jìn)行選擇接受,注意到讀者的人生體驗、心境等因素對于作品價值生成的關(guān)系。這其實已經(jīng)接觸到了西方接受美學(xué)的實質(zhì)。其次,劉熙載提出了“頌其詩,貴知其人”的鑒賞方法,論文在討論這一問題時在肯定其合理性的基礎(chǔ)上,又指出了這種鑒賞方法的局限性。
[Abstract]:Liu Xizai (1813-1881) is a famous scholar, literary theorist and educator in late Qing Dynasty. His works relate to literature and art, linguistics, education, mathematics, astronomy and so on. This paper attempts to grasp Liu Xizai's literary and artistic aesthetics from five aspects: the essence of literature and art, the subject of creation, the theory of artistic expression, the theory of artistic innovation and the theory of art appreciation. The first chapter is art ontology. Liu Xizai first put forward the proposition of "the artist, the form of Tao", which not only merges the view of "Tao" and "art" of Confucianism and Taoism, but also has a deeper understanding. He thinks that the relationship between "Tao" and "art" is the relationship between content and form. Secondly, it puts forward the proposition that "poetry is the union of heaven and man", which ascribes the essence of literature and art to the unity of aesthetic object and subject. The second chapter is about the subject of creation. Liu Xizai put forward the proposition of "Wen and Xin Xue", thus affirming the important role of creative subject in literary and artistic creation. He believes that if the creative subject wants to create excellent works of literature and art, he must improve his own quality. The thesis mainly discusses and studies from three aspects of moral, nourishing qi and keeping aim. Liu Xizai's direct equivalence of poetry and character is questioned. The third chapter is the theory of artistic expression. Liu Xizai first realized the law of the composition of literary and artistic works, and put forward the viewpoint that "different" and "one" were supplemented by writing, and that any work was a unity of "different" and "one". Secondly, he realized that any excellent works of literature and art are the perfect unity of meaning and law. The thesis discusses "Yi" and "Law", especially the structure of literature and art works. The fourth chapter is about artistic innovation. Liu Xizai first put forward the proposition that "the way of literature is great when time is great", and paid attention to the influence of time factor on literature and art. Secondly, the author puts forward the viewpoint that "those who make good use of the ancient times can change the past", emphasizing that innovation is not to abandon the achievements of the predecessors completely, but to innovate on the basis of inheritance, to use the ancient as a means, and to "change the past" as the purpose. Thirdly, he put forward the viewpoint of expounding what the predecessor had and expanding the former. Finally, Liu Xizai also puts forward the concrete innovation method, the paper mainly discusses four kinds of concrete innovation methods: "seeking for difference and change", "going to make a statement", "knowledge and power", "imagination". Chapter V: art appreciation. Liu Xizai first saw that readers' acceptance of literature and art is not completely passive, but active participation. It is noted that the subject chooses to accept the work according to his own preference, and notes the relationship between the reader's life experience, mood and other factors on the creation of the value of the work. In fact, it has already come into contact with the essence of western receptive aesthetics. Secondly, Liu Xizai puts forward the appreciation method of "praise its poem, you know its people", and the paper points out the limitation of this appreciation method on the basis of affirming its rationality.
【學(xué)位授予單位】：云南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：I206.2
本文編號：2242904
[Abstract]:Liu Xizai (1813-1881) is a famous scholar, literary theorist and educator in late Qing Dynasty. His works relate to literature and art, linguistics, education, mathematics, astronomy and so on. This paper attempts to grasp Liu Xizai's literary and artistic aesthetics from five aspects: the essence of literature and art, the subject of creation, the theory of artistic expression, the theory of artistic innovation and the theory of art appreciation. The first chapter is art ontology. Liu Xizai first put forward the proposition of "the artist, the form of Tao", which not only merges the view of "Tao" and "art" of Confucianism and Taoism, but also has a deeper understanding. He thinks that the relationship between "Tao" and "art" is the relationship between content and form. Secondly, it puts forward the proposition that "poetry is the union of heaven and man", which ascribes the essence of literature and art to the unity of aesthetic object and subject. The second chapter is about the subject of creation. Liu Xizai put forward the proposition of "Wen and Xin Xue", thus affirming the important role of creative subject in literary and artistic creation. He believes that if the creative subject wants to create excellent works of literature and art, he must improve his own quality. The thesis mainly discusses and studies from three aspects of moral, nourishing qi and keeping aim. Liu Xizai's direct equivalence of poetry and character is questioned. The third chapter is the theory of artistic expression. Liu Xizai first realized the law of the composition of literary and artistic works, and put forward the viewpoint that "different" and "one" were supplemented by writing, and that any work was a unity of "different" and "one". Secondly, he realized that any excellent works of literature and art are the perfect unity of meaning and law. The thesis discusses "Yi" and "Law", especially the structure of literature and art works. The fourth chapter is about artistic innovation. Liu Xizai first put forward the proposition that "the way of literature is great when time is great", and paid attention to the influence of time factor on literature and art. Secondly, the author puts forward the viewpoint that "those who make good use of the ancient times can change the past", emphasizing that innovation is not to abandon the achievements of the predecessors completely, but to innovate on the basis of inheritance, to use the ancient as a means, and to "change the past" as the purpose. Thirdly, he put forward the viewpoint of expounding what the predecessor had and expanding the former. Finally, Liu Xizai also puts forward the concrete innovation method, the paper mainly discusses four kinds of concrete innovation methods: "seeking for difference and change", "going to make a statement", "knowledge and power", "imagination". Chapter V: art appreciation. Liu Xizai first saw that readers' acceptance of literature and art is not completely passive, but active participation. It is noted that the subject chooses to accept the work according to his own preference, and notes the relationship between the reader's life experience, mood and other factors on the creation of the value of the work. In fact, it has already come into contact with the essence of western receptive aesthetics. Secondly, Liu Xizai puts forward the appreciation method of "praise its poem, you know its people", and the paper points out the limitation of this appreciation method on the basis of affirming its rationality.
【學(xué)位授予單位】：云南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：I206.2
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 陳德禮;劉熙載的《藝概》及其辯證審美觀[J];北京大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);1987年05期
2 陳志;;劉熙載《藝概·經(jīng)義概》芻議[J];復(fù)旦學(xué)報(社會科學(xué)版);2009年03期
3 曾祖蔭;“文以氣為主”向“文以意為主”的轉(zhuǎn)化——兼論中國古代藝術(shù)范疇及其體系的本性[J];華中師范大學(xué)學(xué)報(人文社會科學(xué)版);2001年06期
4 滕福海;“寄言”說與《藝概》的藝術(shù)本質(zhì)論[J];暨南學(xué)報(哲學(xué)社會科學(xué));1994年02期
5 袁津琥;;《藝概》選注本六種述評[J];綿陽師范學(xué)院學(xué)報;2009年04期
6 孫蓉蓉;“物一無文”與《藝概》[J];南京大學(xué)學(xué)報(哲學(xué).人文科學(xué).社會科學(xué)版);1998年04期
7 郭延禮;論劉熙載文學(xué)批評的特色[J];齊魯學(xué)刊;1994年06期
8 周鋒;論劉熙載文學(xué)思想的儒家傾向[J];上海大學(xué)學(xué)報(社會科學(xué)版);1995年01期
9 陳伯海;釋“意象”(上)——中國詩學(xué)的生命形態(tài)論[J];社會科學(xué);2005年09期
10 李德仁;劉熙載美學(xué)思想與道家影響[J];山西大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);1989年01期
，本文編號：2242904
本文鏈接：http://sikaile.net/wenyilunwen/wenxuell/2242904.html
教材專著
