庄子“天人”说的美学解读

发布时间：2018-04-28 03:18

本文选题：庄子 + 天人　；参考：《四川师范大学》2017年硕士论文

【摘要】：“天人”思想在中国传统思想文化中占有重要地位。西周初期,“天”是主宰之天,带有“人格神”的神权意味。春秋末期,诸子百家兴起,主宰之“天”受到新思潮的冲击和动摇。如老子,他把“天”与“道”联系起来,动摇“天”的神权地位。之后,庄子(1)承续老子的观点,赋予“天”以全新意义,把“天”做为一个重要的哲学与美学命题或者概念,加以使用。《庄子》中出现大量“天”的指谓与带有“天”的组合词。庄子的“天人”说,包含了其对作为个体生命的“人”及其生命意义的关注和追问。其“天人”思想既讨论了“天人”的存有方式,也讨论了“天”与“人”间的审美生态关系。基于此,本文主要从以下几个方面展开论述:第一章主要论述“天人”观念的历史流变。要解读庄子的“天人”思想,需要对所谓“天”的历史含义进行梳理,阐明“天”在古代思想文化,尤其在庄子之前的思想文化意义,并对“天”与“道”和“天”与“人”的关系作清理,进而引出庄子的“天人”说。第二章以对“法天贵真”命题的讨论展开来,论述庄子的“天人”说在人与自然的关系里的审美性。庄子以“天人”来表达人是自然的一部分,推崇自然审美,把自然放在独立的审美对象中去考察。庄子认为,“天”“人”一体、相通并存,“人”是自然的一部分。回归“天人”一体,是“人”顺应自然、走出生存困境的途径。就现今的美学思想看,这也是“人”在审美活动中由社会生命走向个体生命的以获得审美自由,达成本真存有、诗意栖居的重要途径。第三章以对“道通为一”命题的讨论展开来,从“道技一体”的审美活动和“形神浑然”的审美境域等两个方面切入,解读庄子“天人一矣”美学命题,及其所规定的审美活动应该达成的审美境域。庄子讲“天人”,实质上是以“天地一气”、“道通为一”的思想把天与人、天与道,通过“气”与“气化”而在“一”中达到“人”与“天”的一体相通、相依相成,在审美上则体现为一种“游”(1),获得一种高级的审美体验。
[Abstract]:The thought of "Heaven and Man" plays an important role in Chinese traditional ideology and culture. In the early Western Zhou Dynasty, "Heaven" was the dominant day, with the meaning of divine power of "Personality God". At the end of the Spring and Autumn period, hundred schools of thought emerged, and the dominant "Heaven" was shaken by the new trend of thought. Laozi, for example, linked Heaven with Tao and shook the divine status of Heaven. Later, Chuang Tzu (1) continued Laozi's point of view, giving "Heaven" a new meaning and taking "Heaven" as an important philosophical and aesthetic proposition or concept. In Zhuangzi, there are a large number of "days" and "days" with a combination of words. Zhuangzi's theory of "Heaven and Man" includes his concern and questioning of "man" as an individual life and its significance. His thought of "Heaven and Man" not only discusses the existence mode of "Heaven and Man", but also discusses the aesthetic ecological relationship between "Heaven" and "Man". Based on this, this paper mainly discusses from the following aspects: the first chapter mainly discusses the historical evolution of the concept of "Heaven and Man". In order to interpret Zhuangzi's thought of "Heaven and Man", it is necessary to sort out the historical meaning of the so-called "Heaven" and clarify the significance of "Heaven" in ancient thought and culture, especially before Zhuangzi. The relationship between "Heaven" and "Tao" and "Heaven" and "Man" is cleared up, which leads to Zhuangzi's Theory of Heaven and Man. The second chapter discusses the aesthetic nature of Zhuangzi's theory of "Heaven and Man" in the relationship between man and nature. Zhuangzi expresses that man is a part of nature by "Heaven and Man". Chuang Tzu believes that heaven and man are one, and that man is a part of nature. To return to the body of Heaven and Man is the way for people to adapt to nature and get out of the predicament of existence. From the point of view of the present aesthetic thought, this is also an important way for "human" to move from social life to individual life in aesthetic activities in order to obtain aesthetic freedom, to achieve true existence and to inhabit poetically. The third chapter begins with the discussion of the proposition of "Taoism as one", from the aesthetic activities of "the integration of Taoism and technology" and from the aesthetic realm of "form and spirit", and interprets the aesthetic proposition of Zhuangzi's "one of Heaven and Man". And its stipulated aesthetic activities should achieve aesthetic realm. In essence, Zhuangzi spoke of "Heaven and Man", "Heaven and Man" and "Taoism as one". By means of "Qi" and "Gasification", Zhuangzi reached the unity of "man" and "heaven" in "one" and became mutually dependent on each other. On the other hand, it embodies a kind of "tour" and obtains a kind of advanced aesthetic experience.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：B83-092

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