徐复观中国艺术精神论

发布时间：2018-05-17 04:19

本文选题：徐复观 + 艺术精神　；参考：《西南大学》2008年硕士论文

【摘要】： 作为现代新儒家第二代的代表人物,徐复观在哲学、文学、美学、思想史等方面都取得了令人瞩目的成就。中国大陆自20世纪80年代中后期以来,徐复观的哲学思想、政治思想、思想史、文艺美学思想逐渐成为众多学者关注的对象。本文通过对徐复观的文艺美学思想在大陆的研究成果梳理,寻找到各个阶段研究的中心和重点以及各阶段的变化和联系。此外,本文立足于《中国艺术精神》,结合徐复观所处的时代背景、文化氛围和人生经历,徐复观儒家艺术精神论和道家艺术精神论的内涵,以及众多学者对徐复观的中国艺术精神内涵的争论,归纳出徐复观中国艺术精神论内儒外道的特点,从而揭示出徐复观的精神实质仍然是儒家的。徐复观创造性地提出“中国艺术精神”这一范畴,同时将儒家艺术精神和道家艺术精神作为两大范型。他认为孔子可能是中国历史上最明显而又最伟大的艺术精神的发现者。孔子之所以如此重视音乐,是因为他发现了音乐可以用来教化世人,提升人格修养。徐复观将孔子的乐教精神归纳为:“为人生而艺术”,也正是这一典型特征成为儒家乐教的局限性,导致孔门的乐教最终逐渐走向衰落。对于道家艺术精神,徐复观认为,老子的思想发展到庄子,不仅具有了思辨性,更具有了体验性,因此,他立足于庄子思想来探讨道家艺术精神,这一观念在他的《中国人性论史·先秦篇》中已经初见端倪。他认为道家虽然从一开始就没有专门谈论艺术,但道的内容十分广泛,它不仅具有思辨性和哲理性,也带有体验性,而艺术精神正是将道与现实人生相结合的成果。庄子所追求的道的最高境界和艺术家所追求的最高的艺术精神在本质上是相同的,而庄子体道所用的工夫和艺术家进行艺术创作所用的工夫在本质上是相同的。“心斋”、“做忘”等则是艺术精神得以呈现的途径。通过“心斋”与“坐忘”,主体之心进入虚静的状态,因此虚静之心就是中国纯艺术精神的主体。庄子思想所体现出艺术精神落实在艺术家身上体现的是对主体欲望和客观知识的摆脱,对自由的艺术性人生的渴望,而落实在艺术作品上则形成了朴素、自然的美学特征,例如我国古代的山水画所体现出的平淡天真之美。艺术形式众多,如绘画、音乐等。庄子的艺术精神所影响到的艺术形式也绝非仅仅局限于绘画上,但徐复观将道家精神落实到绘画这一种艺术形式上,原因在于,徐复观认为庄子的艺术精神所追求的自由解放在观念上较为容易,但在现实生活中则相当困难,而只有自然世界才能包容道家的精神世界,他认为中国的山水画是庄子精神不期然而然的产品。徐复观的艺术精神论一经提出便引起了广大的争议,如何界定“中国艺术精神”这一概念,成为争论的焦点。本文认为一种艺术所体现出的精神源于民族文化中最核心处的东西—哲学,也就是说艺术精神的核心正是哲学。关于中国艺术精神的争论实际上是对儒道关系的探讨,无论是儒家主导派,还是道家主导派,抑或者是儒道互补派,他们的理论都存在一定程度的缺陷。徐复观的《中国艺术精神》一书第一次将道家艺术精神落实在中国的艺术之上,并且以中国古代绘画为集中点,论述了道家艺术精神在中国古代绘画发展的影响和作用。至此,道家思想不仅在中国思想史、哲学史上占有了一席之地,而且也在中国艺术史上起到了重要作用,并且他也不再作为儒家的补充而独自存在于中国绘画上。值得注意的是,徐复观之所以称道家艺术精神是“纯艺术精神”是因为与儒家相比,它是直上直下的,而儒家则需要“转换”。他认为中国文化的基本性格仍然是儒家的,儒家和道家是“一体两面”,儒家是积极的,道家是消极的,总之,徐复观的艺术精神论仍然是内儒外道,将道家艺术精神落实在艺术上,儒家艺术精神落实在中国文化上,彰显出中国文化中艺术、道德这两大支柱的丰富性。
[Abstract]:As the representative of the second generation of Modern Neo Confucianism, Xu Fu Guan has made remarkable achievements in philosophy, literature, aesthetics, and the history of thought. Since the middle and late 1980s of China, the philosophy, political thought, ideological history and literary and aesthetic ideas of Xu Fu Guan have gradually become the object of attention of many scholars. Xu Fuguan's literary and artistic aesthetic thought has been combed in the study of the mainland, looking for the center and focus of the various stages of research and the changes and connections in each stage. In addition, this article is based on "the Chinese art spirit", combining with the background of the times of Xu Fuguan, the cultural atmosphere and life experience, the Confucian artistic spirit of Xu Fuguan and the Taoist spirit of Taoism. The connotation of the theory, and the controversy over the connotation of Xu Fuguan's Chinese artistic spirit by many scholars, summed up the characteristics of Xu Fuguan's inner Confucianism in the theory of Chinese artistic spirit, thus revealing that the spiritual essence of Xu Fuguan is still Confucian.
Xu Fuguan creatively put forward the category of "the spirit of Chinese art", as well as the two paradigms of the Confucian spirit and the Taoist spirit. He thinks that Confucius may be the most obvious and greatest discoverer of the art spirit in Chinese history. The reason why Confucius pays so much attention to music is that he found that music can be used for teaching. The spirit of Confucius's music teaching is summed up as "art for life", which is the limitation of Confucian music teaching, which leads to the decline of the music teaching of Confucius. It is more experienced, therefore, he is based on Chuang-tzu's thought to explore the spirit of Taoist art. This idea has been seen in his "Chinese history of human nature" and "pre Qin". He thinks that although the Taoist school has not talked about art from the beginning, the content of Tao is very extensive, it is not only speculative and philosophical, but also experienced. And the spirit of art is the result of combining the Tao with the real life. The supreme realm of Chuang-tzu's pursuit and the highest artistic spirit pursued by the artist is the same in essence, while the time used by the Chuang-tzu body and the artist to do the artistic creation is the same in this quality. "The heart", "do forget" and so on are the same. It is the way of artistic spirit to present. Through "heart fasting" and "sitting forgetting", the heart of the subject enters a state of emptiness, so the heart of the pure and quiet is the main body of the pure art spirit of China. Chuang-tzu's thought embodies the embodiment of the artistic spirit embodied in the artist's desire to get rid of the subjective desire and the objective knowledge, and to the artistic life of freedom. In the works of art, it has formed a simple and natural aesthetic feature, such as the plain and innocent beauty reflected in the ancient Chinese landscape painting. There are many artistic forms, such as painting, music, etc.. The artistic form influenced by Chuang-tzu's artistic spirit is not only confined to painting, but Xu Fu Guan carried out the Taoist spirit to the painting. The reason for the artistic form of painting is that Xu Fu view that the free liberation of Chuang-tzu's artistic spirit is relatively easy in concept, but it is quite difficult in real life, but only the natural world can contain the spiritual world of Taoism, and he thinks that Chinese landscape painting is the product of Chuang-tzu's spirit and spirit.
Xu Fuguan's theory of artistic spirit has caused a lot of controversy. How to define the concept of "Chinese artistic spirit" has become the focus of the debate. This article holds that the spirit of a kind of art embodies the essence of the core of the national culture - philosophy, that is, the core of the artistic spirit is philosophy. In fact, the argument of spirit is the discussion of the relationship between Confucianism and Taoism. Whether it is the Confucian leading group, the Taoist leading school, the suppressing or the complementarity of the Confucianism and Taoism, the theory of the Chinese art spirit is the first time to put the Taoist art spirit on the Chinese art and the ancient Chinese painting. The influence and function of Taoist art spirit in the development of Chinese ancient painting is discussed. At this point, Taoist thought not only occupies a place in the history of Chinese thought and philosophy, but also plays an important role in the history of Chinese art, and he is no longer a supplement to the Confucian family but alone in Chinese painting. It means that the reason why Xu's artistic spirit is "pure art spirit" is because compared with Confucianism, it is straight down, while Confucianism needs "conversion". He thinks that the basic character of Chinese culture is still Confucian, Confucianism and Taoism are "one and two", Confucianism is positive, Taoist is negative, in a word, Xu Fu Guan The theory of artistic spirit is still the exterior of the inner Confucianism, and the Taoist spirit is implemented in the art. The Confucian spirit of art is implemented in Chinese culture, which shows the richness of the two pillars of Chinese culture, art and morality.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J0

【相似文献】