论苏轼书法思想中的“道”

发布时间：2018-06-22 09:54

本文选题：苏轼 + 蜀学　；参考：《山东大学》2011年硕士论文

【摘要】：“道”是中国哲学的核心范畴。先秦诸子曾经就“道”这一哲学范畴进行过广泛的讨论,后代学者关于“道”的理解和阐释无不基于先秦诸子们的思想成果。在不同时期和不同哲学家的思想体系中,“道”有着不尽相同的内涵与特征。秦汉以降,中国的思想史和学术史主要围绕着儒、道两家家之道而展开,其中儒家之道自汉武罢黜百家以来一直居于主导地位,道家思想在魏晋玄学试图对儒家的名教和道家自然进行调和以来,也逐步占据重要位置。西汉末年传入中国的佛教思想对中国思想史的影响,往往借着儒、道的躯壳进行参与进来,与儒家和道家的思想进行融合。中唐以来社会政治结构的剧变导致思想结构的变化,儒、道、佛的不断融合和争辩逐渐产生了新的儒家理论。学界普遍认为,宋代的道学或称之为理学的新儒学是以儒家为主体融合道、释的儒家学说。《宋史》中专列“道学传”,道学成为圣学的正宗,并被立为官学,“道”在某种程度上被狭隘化了。顾炎武批判《宋史》的这个做法,实际上是对道学心性之学的批判和反思。清儒毛奇龄曾怀疑“道”概念的理论来源是否出自儒学,认为“道”是从道家继承而来的,根本不是儒者之言。①而方东树作《汉学商兑》,开篇即驳毛说,他列举儒家典籍中诸多“道”字,证明“道”也是儒家之“道”。这些关于“道”的不同见解实际上是在思想史和学术史的发展的阶段中不同学派对于学术的不同阐释,思想史和学术史的内容因此而丰富。各学派对于“道”的不同理解和阐释不仅关系学术史和思想史的发展方向,同时也会对艺术的理解和接受产生重要的影响。本文从考察儒家、道家的核心思想“道”的概念出发,梳理“道”的流变,探讨影响苏轼书法思想的理论渊源。隋唐以来儒道释的融合的逐步改变了“道”内容,中唐思想中“道”的剧变体现在元、白新乐府运动和韩、柳的古文运动以文学复古的形式提倡恢复儒家正统以及啖助、赵匡的新经学运动上,尤其韩愈的“古道”新释的思想是宋代儒家士大夫阐释“道”的最直接的理论来源。以儒、道、释融合的方式阐释“道”是宋代学术史和思想史的特征,北宋时期三苏为代表的“蜀学”和以二程为代表的“洛学”都具有这一特征。宋代的大儒们以这一方式阐释道,既是承继中唐以来的学术风气,也具有他们自己的特点。在实际上,隋唐以来儒道释不断融合,自中唐儒学复兴运动以来,儒家之“道”的内涵已经在不断地改变,宋儒们在此基础上逐步确立了宋学的思想体系。以三苏为代表的“蜀学”就是以儒学为主,综合道,释的学派,蜀学援道、释解释儒家之“道”,其做法往往遭到二程“洛学”以及后来理学家朱熹的批评。但是,朱熹自己理学体系本身就是在融合佛、道中改变了的孔孟传统的新儒学,儒道释的融合是整个宋代学术思想的背景。苏轼的书法思想以儒为主,兼综道、释,是其“蜀学”之“道”的结构在其书法思想中的缩影,我们称之为苏轼的书法之“道”：苏轼以此来把握书法艺术的审美并进行某种价值判断。作为宋代的古文家,苏轼的文艺观和书法观的直接理论渊源就是韩愈和柳宗元的文艺思想；但苏轼的书法思想之中存在着一种主动对佛、老进行融合的动机,这种主动的动机与韩愈的辟佛思想有很大的不同。释老对韩愈的影响,并非出于韩愈的主观意愿,这是苏轼在儒、道、释思想兼有方面与韩愈的最大区别,这种区别具有特定的历史性。苏轼的书法思想中既存在着儒家道德伦理之道,又存在道家的自然和超逸之道以及佛家的空静观念；既有主体感情抒发的艺术本体性的内容,又存在着政教功用的价值观照；一方面要以道义学养入书,一方面要随其性情,随意所适。作为儒家士大夫,儒家思想占据其书法思想结构的主要地位,儒家的伦理道德和书法的政教功用观念仍然是一种主导的观念；但儒和道、释之间是一种体用的关系,在苏轼书法艺术的本体性审美观念上,主要体现了道释的自然超逸的品格和空静的观念。苏轼书法思想中的“道”的结构决定了苏轼书法审美的价值判断和艺术审美判断。在其书法思想中存在着诸多的矛盾之处,如对怀素和张旭的诋毁和赞誉、对颜真卿书品和人品之间关系的怀疑等,这些都是苏轼书法审美和价值判断之间的矛盾,反映了苏轼书法思想中关于“道”的内部冲突。在苏轼的思想中始终存在着一种道德的牵制力量——政治伦理的政教观念使苏轼的论书思想具有强烈的道德主义的意味——道德主义的背后隐藏着很强的功利性动机,政教的功用目的使苏轼论书的理论往往偏离书法的审美本体,这使苏轼的书法审美显得很不纯粹。前辈学者通常说苏轼的书法尚“意”或宋代书法是“尚意”书风,对我们而言,对“意”的含义做进一步更深层次上的探讨显得很必要。本文在把握苏轼书法思想整体结构的基础上,尝试对“意”的内涵进行更全面的解释。论文认为,苏轼的“意”含有情感的因素和抒情的成分,但就其本体意义而言,“意”具有形而上的性质,其实质和目的均在于“道”上,其中包含着儒道释三个方面,以儒为主；“意”是苏轼书法思想中的“道”的另一种表述——这一表述是苏轼对书法之“道”进行体认并作主体阐释的结果。同时,“意”是苏轼对书法进行主题阐释的方法,类似于佛禅顿悟方式,苏轼以此来体悟无所不在的圣贤之“道”。
[Abstract]:"Tao" is the core category of Chinese philosophy. The pre Qin scholars have conducted extensive discussions on the philosophical category of "Tao". The understanding and interpretation of "Tao" by the generations of scholars are based on the ideological achievements of the pre Qin scholars. In different periods and different philosophers' ideological system, "Tao" has different connotations and characteristics. In the Qin and Han Dynasties, the ideological history and academic history of China mainly revolved around the Confucianism and Taoism, among which the Confucian Taoism had been in the dominant position since the deposed of the Han and martial arts. The Taoist thought has gradually occupied an important position since the metaphysics of the Wei and Jin Dynasties tried to reconcile the Confucianism and the Taoist nature. The Western Han Dynasty was introduced into China in the last year. The influence of Buddhist thought on the history of Chinese thought often involves the body of Confucianism and Taoism, and integrates with Confucianism and Taoism.
The dramatic changes in the social and political structure since the middle of the middle Tang Dynasty have led to the change of the ideological structure. The continuous integration and argument of Confucianism, Taoism and Buddhism have gradually produced new Confucian theories. The academic circles generally believe that the Neo Confucianism of the Song Dynasty, or the Neo Confucianism called Neo Confucianism, is the Confucian doctrine that the Confucianism is the main body and the Confucian doctrine. In a certain degree, "Tao" was narrowed to some extent by the orthodox school. Gu Yanwu's criticism of the history of the Song Dynasty was actually a criticism and Reflection on the study of the Taoist mind. Mao Qiling once doubted whether the theoretical origin of the concept of "Tao" came from Confucianism, and that "Tao" was inherited from the Taoist and was not a Confucian at all. (1) while Fang Dong tree is a "Sinology business", the opening of which is to refute Mao's theory that he enumerates many "Dao" in the Confucian classics and proves that "Tao" is the Confucian "Tao". The different understandings and interpretations of "Tao" are not only related to the development direction of academic history and ideological history, but also have an important influence on the understanding and acceptance of art.
This paper, starting from the concept of Confucianism and Taoism's core idea of "Tao", combs the rheology of "Tao" and explores the theoretical origin of Su Shi's calligraphy thought. The fusion of Confucianism and Taoism has gradually changed the content of Tao since the Sui and Tang Dynasties. The dramatic changes in the "Tao" in the middle Tang thought were embodied in the yuan, the white New Yuefu movement and the ancient prose movement of Han and Liu. The form of learning from ancient times advocated restoring Confucian orthodoxy and eating help, and Zhao Kuang's new Confucian classics movement, especially Han Yu's new interpretation of "ancient Taoism" was the most direct theoretical source for the Confucian scholar bureaucrats in the Song Dynasty to explain "Tao". The representative "Shu learning" and "Luo Xue", represented by the second way, have this characteristic. In this way, the great Confucianism of the Song Dynasty explained the academic atmosphere and their own characteristics since the middle Tang Dynasty. In fact, the Confucianism and Taoism have fused continuously since the Sui and Tang Dynasties. Since the revival movement of the Confucianism in the middle Tang Dynasty, the Confucian "Tao" was in the middle of the Tang Dynasty. On the basis of this, the Confucian scholars have gradually established the ideological system of song learning. The "Shu learning" represented by the three Soviet Union is mainly Confucianism, comprehensive way, Buddhism school, Shu learning to help the Taoism and explain the Confucian "Tao". His practice is often criticized by "Luo Xue" and later Zhu Xi. However, Zhu Xi The system of Confucianism itself is the fusion of Kong Meng's traditional Neo Confucianism in Buddhism and Taoism, and the integration of Confucianism, Taoism and Buddhism is the background of the whole Song Dynasty academic thought.
Su Shi's calligraphy thought is based on Confucianism, comprehensive way and interpretation. It is the epitome of the "Tao" of "Shu learning" in his calligraphy thought. We call it the "Dao" of Su Shi's calligraphy. In this way, Su Shi grasps the aesthetic of calligraphy art and carries on some value judgment. As the ancient prose family of the Song Dynasty, Su Shi's view of literature and art and the view of calligraphy are direct. The theoretical origin is the literary and artistic ideas of Han Yu and Liu Zongyuan, but there is a motive for the integration of the Buddha and the old in Su Shi's calligraphy thought. This initiative is very different from Han Yu's thought of the Buddha. The influence of Han Yu on Han Yu is not due to Han Yu's subjective intention. This is Su Shi in Confucianism, Taoism and Buddhism. The difference between the aspects and Han Yu is of the special historical nature. In Su Shi's calligraphy thought, there exist both the Confucian moral and ethical ways, the Taoist nature and the escape way, and the Buddhism's empty ideas; the content of the artistic noumenon of the expression of the subjective feelings and the value of the political and educational functions; one side. As a Confucian scholar bureaucrat, Confucianism occupies the main position of his calligraphic ideological structure. Confucian ethics and calligraphy are still a dominant concept, but Confucianism and Tao are a kind of physical relationship between Confucianism and Tao, in Su Shi's calligraphy art. The ontological aesthetic concept mainly embodies the natural and transcending character of Tao and the idea of emptiness.
The structure of "Tao" in Su Shi's calligraphy thought determines the value judgment and aesthetic judgment of Su Shi's calligraphy aesthetic. There are many contradictions in his calligraphy thought, such as the discredit and praise of Zhang Xu, and the suspicion of the relationship between Yan Zhenqing's books and human qualities, these are all Su Shi's calligraphy aesthetic and value judgment. The contradiction between Su Shi's calligraphy thought reflects the internal conflict of "Tao". In Su Shi's thought, there is always a kind of moral restraint force - political ethics of political and religious ideas makes Su Shi's theory of theory with strong moralism - the strong utilitarian motive behind the moralism, and the political and education. The purpose of Su Shi's book theory often deviates from the aesthetic noumenon of calligraphy, which makes Su Shi's calligraphy aesthetics very pure.
The former scholars usually say that Su Shi's calligraphy is still "meaning" or the Song Dynasty calligraphy is a "Shang Yi" book style. For us, it is necessary to further study the meaning of "meaning". This article tries to make a more comprehensive explanation of the connotation of "meaning" on the basis of grasping the overall structure of Su Shi's calligraphy thought. Su Shi's "meaning" contains emotional factors and lyric elements, but in its noumenal meaning, "meaning" has the metaphysical nature. Its essence and purpose lie in the "Tao", which includes three aspects of Confucianism, Taoism and Confucianism. "Meaning" is another expression of "Tao" in Su Shi's Calligraphy thought - this expression is su. At the same time, "meaning" is a method of Su Shi's interpretation of calligraphy, which is similar to the way of Buddhism and epiphany, and Su Shi realizes the "Tao" of the omnipresent sages.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J292.1

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