郭嵩焘的儒学与书法观念研究

发布时间：2018-01-30 06:38

本文关键词： 郭嵩焘儒学书法观念　出处：《西南大学》2017年硕士论文　论文类型：学位论文

【摘要】：郭嵩焘(1818—1891)是中国近代著名的儒学大家,他的儒学思想以及儒家心性对其书法观念产生了重要影响。本文旨在从郭嵩焘儒学以及儒家心性的角度对其书法观念进行系统研究,深入探讨郭嵩焘儒学及儒学陶染下的心性与其书法观念之间的深层联系。本文一共分为四章。第一章论述了郭嵩焘理学经世与慎独工夫思想与其“正心”之学的书法功用观念之间的关系。郭嵩焘站在宋明理学的立场重视经世致用,强调个人心性道德修养。个人心性道德的修养离不开慎独工夫,在郭嵩焘看来,书法作为传统文人修身养性不可或缺的部分,正可以作为文人日常“正心”的重要内容,即通过书法的“如何写”“为何而写”“写什么”三个方面来辅助个人心性道德的修养,从而实现自身的社会功用。第二章论述了郭嵩焘“天变道亦变”与“研几”思想与其“极古今之变”的书法学习观念之间的关系。郭嵩焘继承了王夫之“气在理先”“器在道先”的事物先在性的思想,承认“理”的客观性而不承认“理”的绝对性,认为“天变道亦变”,只有“即事以悟道,审几以致功”,方能做到经世致用。而“研几”又需“广识”,所以郭嵩焘持开放的文化心态,致力于极尽古今、中西之变,博采众长,为我所用,为时所用。同样,郭嵩焘在书法的学习观念上也强调“极古今之变”,主要体现为厚古不薄今、兼容碑帖、勤奋工夫三个方面。第三章论述了郭嵩焘“积诚以化乎天下”与“诚中形外”思想与其“无意出之”的书法创作观念之间的关系。郭嵩焘肯定“诚”为实有,认为只要通过慎独工夫修炼至圣人之“至诚”,则定能“金石为开”,产生“化乎天下”的“实行实效”。换句话说,“诚中”必能“形外”。因此,郭嵩焘在书法的创作观念上要求表达个人的真实性情意趣,以及无意出之、自由自在的创作状态,反对刻意安排、造作。第四章则论述了郭嵩焘“狂狷”的人格气象与沉雄奇古的书法审美观念之间的关系。郭嵩焘充分肯定“狂狷”人格,认为“狂狷”并不是被否定的偏离“中行”的人格类型,而是现实“中行”过程当中尚未达到极致的一种状态。没有“狂狷”,也就无所谓“中行”。“狂狷”是“中行”的必由之路,“中行”只是“狂狷”以时为大的合理运用。“狂狷”人格在“志道”实践中,与“流俗”“乡愿”相抗争而养成的刚毅、雄浑及崇高气象,影响并造就了郭嵩焘沉雄奇古的书法审美观念。郭嵩焘沉雄奇古的书法审美追求主要体现为从精神层面发觉金石碑版沉雄奇古的气息、以沉雄奇古的审美标准关照古今书法以及在自己的书法实践方面自觉地贯彻沉雄奇古的审美要求。
[Abstract]:Guo Songtao (1818-1891) is a famous Confucian scholar in modern China. His Confucian thought and Confucian mentality had an important influence on his calligraphy concept. This paper aims to make a systematic study on his calligraphy concept from the perspective of Guo Songtao's Confucianism and Confucian mentality. This paper is divided into four chapters. The first chapter discusses Guo Songtao's thoughts of Confucian Confucianism and Shoudugong and his "upright heart". Guo Songtao, from the standpoint of Song Ming's Neo-Confucianism, attached great importance to the practical application of the world. The emphasis on personal moral accomplishment. The cultivation of individual mind morality can not be separated from the work of caution. In Guo Songtao's view, calligraphy is an indispensable part of the traditional literati's self-cultivation. It can be regarded as the important content of the literati's daily "positive heart", that is, through the calligraphy "how to write" and "why" and "write" three aspects to assist the cultivation of personal mind, sex and morality. The second chapter discusses the relationship between Guo Songtao's thought of "changing the way of Heaven" and "Yan Ji" and his calligraphy learning idea of "extremely ancient and modern changes". Guo Songtao inherited Wang Fuzhi. Qi is the thought of "the first thing is the first thing in the Tao". Recognizing the objectivity of "reason" but not the absoluteness of "theory", it is believed that "the nature changes the Tao also changes", only "the matter understands the way, assesses several to achieve merit", can achieve the practical use of the world, and "research several" also need "extensive knowledge". Therefore, Guo Songtao held an open cultural mentality and devoted himself to the great changes of ancient and modern times, to the changes between China and the West, to learn from all kinds of people and to use them for the time being. Similarly, Guo Songtao also emphasized "the change of ancient and modern times" in the learning concept of calligraphy. Mainly reflected in the thick ancient not thin today, compatible tablets. The third chapter discusses the relationship between Guo Songtao's "sincerity" and "sincerity" and his "unintentional" concept of calligraphy creation. Guo Songtao affirms that "sincerity" is the real thing. It is believed that as long as we practice the "sincerity" of the sage with caution, we will surely be able to "open the stone for gold" and produce the "practical effect" of "turning the world into a world." in other words, "sincerity in the form of" ability "is bound to be" outside the shape ". Guo Songtao in the calligraphy creation idea requests to express the personal authenticity sentiment interest, as well as unintentionally, the free creation state, opposes the deliberate arrangement. Chapter 4th discusses the relationship between Guo Songtao's "manic personality" and Shen Xiongqi's calligraphy aesthetic concept. Guo Songtao fully affirms the "manic" personality. The author thinks that "mania" is not a negative deviation from the personality type of "Bank of China", but a state that has not yet reached the extreme in the process of "Bank of China" in reality, and there is no "fanaticism". There is no matter "the Bank of China". "Manic" is the only way to "the Bank of China", "the Bank of China" is only "crazy" as the great rational use of the time. "manic" personality in the "ambition" practice. And "flow vulgar" "township wish" to fight against the formation of fortitude, vigorous and noble atmosphere. Guo Songtao Shen Xiongqi ancient calligraphy aesthetic concept. Guo Songtao Shen Xiongqi ancient calligraphy aesthetic pursuit mainly reflected from the spiritual level to discover the stone tablet version Shen Xiongqi ancient flavor. The aesthetic standards of Shen Xiongqi are taken care of in ancient and modern calligraphy and in his own calligraphy practice, the aesthetic requirements of Shen Xiongqi are consciously carried out.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J292.1

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