中国古典美学范畴“逸”的研究

发布时间：2018-05-15 11:28

本文选题：逸 + 隐逸　；参考：《青海师范大学》2017年硕士论文

【摘要】：“逸”是中国古典美学的重要范畴,具有鲜明的民族特色,它集中体现了中国古代知识分子的审美趣味和审美理想,是士大夫在人生得意或仕途失意时的感情寄托。笔者试图从“逸”之产生渊源、历史发展演变的轨迹、审美内涵及在中国古典美学史上的影响进行具体阐释。文章分为四个部分:第一章主要分析了“逸”的渊源。通过查阅文献,阐释“逸”字的单字涵义变化,进而探讨“逸”的复义。再者中华民族有尚“逸”的传统,它的产生发展与社会环境密不可分。最后“逸”的思想来源,秉承道家思想,杂糅儒释思想,是儒释道三家合流的结果。第二章纵向梳理了“逸”的历史发展,选取最具有时代特征“逸”的表现进行论述。先秦出现逸民,两汉时期有学者提出逸在布衣失志而作,隐逸思想是其文化来源;魏晋时期,“逸”走进人物品鉴和文艺批评中;隋唐时期,“逸”在各个领域都有突出的表现;宋元时期,艺术家对逸格的内涵有了深入理解且发展了逸之理论,且“逸”内化为宋代文人的精神品质,统治者尊隐尊“逸”,对社会秩序安定和谐有很大的帮助;明清时期,“逸”得到进一步发展,理论得到发展,表现在文人画理论对逸进行改造,和逸品笔墨理论的探讨。从这里我们能较为清晰地把握逸发展的脉络。第三章论述“逸”的审美内涵,也是本文的重点。首先,论述“逸”的审美特征及其表现,如“逸”具有空灵冲淡、超脱不羁之美等;其次根据对“逸”的多种审美形态做出划分,主要分为飘逸、清逸、高逸三类,将其各自的表现进行具体的论述;最后探讨与“逸”的相关美学问题,对比融合其他美学范畴,如“气”、“韵”、“趣”等。第四章主要讲述“逸”对中国古典美学的影响,主要表现在两方面:一方面对审美人格的建构、对审美创造思维的重要作用;另一方面,研究“逸”有利于建构古典美学范畴体系,对我们当今的生活也有一定的启示意义。
[Abstract]:"Yi" is an important category of Chinese classical aesthetics with distinct national characteristics. It embodies the aesthetic taste and ideal of ancient Chinese intellectuals, and is the emotional sustenance of literati when they are satisfied with their life or lose their official career. The author tries to explain the origin of "Yi", the track of historical development and evolution, the aesthetic connotation and its influence in the history of Chinese classical aesthetics. The article is divided into four parts: the first chapter mainly analyzes the origin of Yi. By consulting the literature, this paper explains the change of the meaning of the word Yi, and then probes into the meaning of Yi. Moreover, the Chinese nation has the tradition of "leisure", its development and social environment are inseparable. Finally, the thought source of Yi, adhering to Taoism and mixing Confucianism and Buddhism, is the result of the combination of Confucianism, Buddhism and Taoism. The second chapter combs the historical development of "Yi" longitudinally, and chooses the performance of "Yi" as the most characteristic of the times. Yimin appeared in the Pre-Qin Dynasty, and some scholars in the Han Dynasty put forward the idea of "Yi" being the source of its culture, the recluse thought was the source of its culture; in the Wei and Jin dynasties, "Yi" came into the character's character and literary criticism; in the Sui and Tang dynasties, In the Song and Yuan dynasties, the artist had a deep understanding of the connotation of Yi and developed the theory of Yi, and the "Yi" was internalized into the spiritual quality of the literati in the Song Dynasty, and the ruler respected the hidden "Yi". In the Ming and Qing dynasties, the "Yi" was further developed and the theory was developed, which was reflected in the transformation of the theory of literati painting and the discussion of the theory of "Yi". From here we can more clearly grasp the development of the context. The third chapter discusses the aesthetic connotation of Yi, which is also the focus of this paper. First of all, it discusses the aesthetic characteristics of "Yi" and its performance, such as "Yi" has the beauty of emptiness, transcendence and unruly beauty, etc. Secondly, according to the various aesthetic forms of "Yi", it is divided into three categories: elegant, elegant and high elegant. Finally, it discusses the aesthetic problems related to "Yi", and compares and merges other aesthetic categories, such as "Qi", "rhyme", "interest" and so on. The fourth chapter mainly talks about the influence of "Yi" on Chinese classical aesthetics, mainly in two aspects: on the one hand, on the construction of aesthetic personality, on the important role of aesthetic creative thinking; on the other hand, The study of "Yi" is beneficial to the construction of classical aesthetic category system, and has certain enlightenment significance to our life today.
【学位授予单位】：青海师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I01

【参考文献】