【摘要】：“立象盡意”是中國傳統(tǒng)文化中的一種普遍思維方式和表達方式,它有著諸多的文化藝術(shù)實踐�！肚f子》包含了十分豐富的意象,這些意象作為表情達意的媒介,除了闡釋和言說《莊子》的哲學、美學思想,完成《莊子》的思想體系建構(gòu),同時也批判了當時作為主流思想的儒家哲學。《莊子》“釋性”意象在闡釋“性”這個概念時候,是通過言說“無為”和“真德”展開,分別與郭店簡儒家文獻《性自命出》說的“有為”和儒家哲學中的“王德”相對�！肚f子》“意象”在表達如何活著與怎樣對待生命時,認為“凡物無成與毀”,人生不能局限于“有用”或“無用”;在面對生老病死時提倡“安時處順”,并且尊重生命,不殉名。儒家則認為人活著不僅要“有為”,要成為一個君子,還要求“君子集大成”,并且可以舍生取義,殺身成仁。郭店簡《緇衣》篇就說:“君子生不可奪志,死不可奪名。”這些論題都展現(xiàn)出儒道兩家對生命意義的不同思考�！肚f子》還對“孔子”意象進行藝術(shù)化的虛構(gòu),批評了儒家提倡的仁義禮樂等核心內(nèi)容�！肚f子》“意象”在經(jīng)過對人性,人生的思考與論述后,最終上升到對“人”的自適與安頓(人世)的探究,實現(xiàn)對儒家哲學的根本超越�！叭恕北旧硎冀K是《莊子》哲學的起點和歸宿,這再次證實《莊子》哲學不僅是人生哲學,也是政治哲學�！肚f子》的哲學和美學是一體的,用來表達《莊子》哲學的諸多意象同時也蘊含著《莊子》的美學思想�！肚f子》“意象”的美學內(nèi)涵主要體現(xiàn)在美的觀照與大美思想。美的觀照就是道的觀照,體道要經(jīng)歷“心齋”、“坐忘”等一系列的心理修煉過程,目的是要通過“忘”呈現(xiàn)虛靜的心理狀態(tài),從而在創(chuàng)作時做到心無旁騖與全神貫注�！肚f子》的大美就是合乎道的恬淡虛無、樸素自然之美,這種美學思想對后世的詩文和繪畫藝術(shù)方面都有深刻的影響。
[Abstract]:As a general way of thinking and expression in Chinese traditional culture, Zhuangzi has a lot of cultural and artistic practices. "Zhuangzi" contains a lot of images, which are used as the medium of expression. In addition to explaining and saying "Zhuangzi" 's philosophy and aesthetic thought, completing the construction of "Zhuangzi" 's ideological system, it also criticizes the Confucian philosophy as the mainstream thought at that time. "interpretation" image is explaining the concept of "nature" in "Zhuangzi". It is through saying "inaction" and "true virtue" that they are opposite to "you" and "Wang De" in Confucian philosophy, respectively, in contrast to the Confucian literature of Guo Dian Jian, "sexual pretensions". < Zhuang Zi] "imagery" expresses how to live and how to treat life. It is believed that life should not be limited to "useful" or "useless". In the face of old age and death to advocate "peace and order," and respect for life, not martyrdom. The Confucianists believed that people should not only "do something" to be a gentleman, but also "a gentleman", and can sacrifice life to get justice and kill people into benevolence. Guo Dian's Jane "Zhe Yi" said: "A gentleman can't snatch his name from birth, nor from his name by death." These topics all show two different thoughts on the meaning of life of Confucianism and Taoism. "Zhuangzi" also makes up artistic fictions of the image of "Confucius", criticizes the core contents of Confucian's promotion of benevolence, propriety and music, etc. The "image" of "Zhuangzi" goes through the process of human nature. After thinking and expounding of life, it finally rises to the self-adaptation of "man" and the exploration of "human being", and realizes the fundamental transcendence of Confucian philosophy. "Man" itself is always the starting point and destination of "Zhuangzi" philosophy, which proves once again that "Zhuangzi" philosophy is not only a philosophy of life, but also a philosophy of politics. Many images used to express Zhuangzi's philosophy also contain the aesthetic thought of Zhuangzi. The aesthetic connotations of "image" are mainly embodied in the aesthetic thoughts of beauty and beauty. Beauty is the view of the Tao. The body and Taoism have to go through a series of psychological practices, such as "Zhai", "sitting forgetting" and so on, with the aim of presenting an empty and quiet state of mind through "forgetting". The great beauty of Zhuangzi is the tranquil nihility of the Tao and the beauty of simplicity and nature. This aesthetic thought has a profound influence on the poetry and painting art of later generations.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I01

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