本文選題：藝術(shù)審美理論　切入點(diǎn)：儒釋互補(bǔ)　出處：《首都師范大學(xué)》2005年碩士論文　論文類型：學(xué)位論文

【摘要】：在20世紀(jì)中國美學(xué)的研究中，豐子愷一直以藝術(shù)家的身份居于其中，但隨著學(xué)術(shù)理論的深入拓展，其藝術(shù)審美理論逐漸浮出水面，得到越來越多學(xué)者的重視。 本文針對近年來豐子愷研究的具體情況及存在的問題，對其藝術(shù)審美理論進(jìn)行了系統(tǒng)的梳理和闡釋，以期在新的歷史背景下重新挖掘這位藝術(shù)家背后的理論內(nèi)涵，確立其在20世紀(jì)中國美學(xué)史上真正的地位。 本文共分為三章。第一章“豐子愷藝術(shù)審美理論的生成背景及來源”，介紹豐子愷身處的20世紀(jì)初特殊的時(shí)代背景及文化背景，并從豐子愷身上承傳的“儒釋互補(bǔ)”思想、對西方理論的接受和“儒化”兩個(gè)方面分析其藝術(shù)審美理論的來源，為豐子愷藝術(shù)審美理論的具體闡釋奠定了基礎(chǔ)。 第二章“豐子愷藝術(shù)審美理論的基本內(nèi)涵”，本章是全文的重點(diǎn)，從“藝術(shù)本體觀”和“藝術(shù)價(jià)值觀”兩方面系統(tǒng)梳理并闡釋豐子愷的藝術(shù)審美理論。其中“藝術(shù)本體觀”主要圍繞著：以“真善美”為核心的藝術(shù)審美本質(zhì)觀、追求“中和之美”的藝術(shù)美感形式觀、主張“物我一體”的審美主客體關(guān)系論，，三方面展開；“藝術(shù)價(jià)值觀”則主要圍繞著：注重現(xiàn)實(shí)意義的藝術(shù)功能觀和注重人格修養(yǎng)的藝術(shù)教育觀兩方面展開，旨在通過理論的具體闡釋揭示出豐子愷藝術(shù)審美理論的基本構(gòu)成及內(nèi)涵。本章最后還總結(jié)出了豐子愷藝術(shù)審美理論“言淺意深”及“感悟式”的闡述特征。 第三章“豐子愷藝術(shù)審美理論的局限性”，由于豐子愷藝術(shù)審美理論是在特殊的歷史時(shí)期產(chǎn)生和成熟起來的，這就不可避免地會帶有一定局限性。本章總結(jié)出豐子愷理論的時(shí)代性、理論內(nèi)部的矛盾性以及他在西方理論接受過程中理解上的偏差，希望對豐子愷的藝術(shù)審美理論有一個(gè)客觀地、整體地認(rèn)識。
[Abstract]:In 20th century, Feng Zikai lived as an artist in the study of Chinese aesthetics. However, with the further development of academic theory, his aesthetic theory of art gradually surfaced and received more and more scholars' attention. Aiming at the concrete situation and existing problems of Feng Zikai's research in recent years, this paper systematically combs and explains his artistic aesthetic theory in order to rediscover the theoretical connotation behind this artist in the new historical background. To establish its true position in the history of Chinese aesthetics in 20th century. This paper is divided into three chapters. The first chapter, "the background and origin of Feng Zikai's aesthetic theory of art", introduces the special background of the era and culture in the beginning of 20th century, and inherits the thought of "Confucianism and Buddhism complement each other" from Feng Zikai. The author analyzes the origin of his artistic aesthetic theory from two aspects: the acceptance of western theory and the "Confucianism", which lays a foundation for Feng Zikai's interpretation of art aesthetic theory. The second chapter, "the basic connotation of Feng Zikai's aesthetic theory of art", is the focus of this paper. From two aspects of "artistic Noumenon" and "artistic value", this paper systematically combs and interprets Feng Zikai's artistic aesthetic theory, in which "artistic Noumenon" mainly revolves around: "Truth, good and Beauty" as the core of artistic Aesthetic essence, Pursuing the aesthetic aesthetic form view of "the beauty of neutralization", and advocating the aesthetic subject-object relationship theory of "matter and me as a whole". "artistic values" mainly revolves around two aspects: the artistic function view of realistic significance and the artistic education view of personality accomplishment. The purpose of this chapter is to reveal the basic composition and connotation of Feng Zikai's artistic aesthetic theory through the concrete interpretation of the theory. Chapter three, "limitations of Feng Zikai's Aesthetic Theory of Art", because the artistic Aesthetic Theory of Feng Zikai came into being and matured in a special historical period, This chapter summarizes the epochal nature of Feng Zikai's theory, the contradiction within the theory and the deviation in his understanding of the western theory. Hope to Feng Zikai's aesthetic theory of art has an objective, overall understanding.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J01

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1 王偉;豐子愷藝術(shù)審美理論初探[D];首都師范大學(xué);2005年

本文編號：1577704