徐复观艺术论研究

发布时间：2018-05-17 20:33

本文选题：徐复观 + 艺术论　；参考：《湖南师范大学》2009年硕士论文

【摘要】： 徐复观的艺术论乃至他的整个美学思想都是隐含在他对中国艺术进行的思想史研究中的。所以,我们要想真正把握他的艺术论就必须在他既成的艺术的思想史研究中,通过他自己在思想史研究中所使用的“追体验”的方法,去探寻他具有系统性的一贯的艺术论面貌。而他这一系统的艺术论的产生,得益于他在整个中国人性论特别是在儒家人性论视域下所进行的庄子人性论的研究。这一研究,给予了他探索中国艺术本源的现实和理论契机。在此基础上,徐复观对艺术本源进行了深入开掘,并将这种本源规定为艺术精神和作为艺术精神主体的“心斋”之心。但实际上,他从庄子那里体验而来的“心斋”之心,只能将人导向纯粹的审美观照,从而发生审美意识的自觉。想要从作为艺术本源的心那里开出客观的艺术存在,还必须要有“情性”之心对其进行能够感发为艺术的精神主体转换。从心和精神发而为客观的艺术存在,这中间还需要“气”作为必须的途径。“气”作为人的生理生命的综合作用,一方面将艺术精神承载向艺术品,从而使艺术品得到精神生命的生气灌注;另一方面又将艺术品所赖以存在的媒材承载向艺术精神,使得艺术精神得以根据媒材的特性选择具体外化的方式,由此形成不同的艺术门类。从徐复观的艺术本源论出发,则艺术的存在与意义就完全在于创作主体的精神生命。这样,艺术的价值也必然要在艺术本源的地方才能得到体现。徐复观据此认为,艺术的品格高下,完全在于艺术家人品的高下,而艺术对欣赏者的价值,就在于欣赏者通过艺术品感受到艺术家高尚的心,并由此来影响自己的心。这些就是徐复观在艺术价值论上坚持的“为人生而艺术”的涵义。另外,徐复观在佛家与中国艺术精神的关系问题上,持一种否定态度,而在对现代艺术的评价问题上,持一种批判态度。这些问题极具争议。所以,在我们对他的艺术论从艺术本源、艺术发生和艺术价值三个方面出发有了较完整的把握之后,还有必要再针对这些问题进行评价与讨论。
[Abstract]:Xu Fuguan's art theory and even his whole aesthetic thought are implicit in his research on the history of Chinese art. Therefore, if we want to really grasp his art theory, we must use his own method of "chasing experience" in the study of the intellectual history of his established art. To explore his systematic and consistent artistic outlook. And his systematic art theory came into being thanks to his research on Zhuangzi's theory of human nature in the whole Chinese theory of human nature, especially in the perspective of Confucian theory of human nature. This research gives him a realistic and theoretical opportunity to explore the origin of Chinese art. On this basis, Xu Fuguan deeply excavated the origin of art, and stipulated this origin as the spirit of art and the heart of "Xin Zhai" as the subject of art spirit. But in fact, the heart of "Xin Zhai" which he experienced from Chuang Tzu can only lead people to pure aesthetic view, thus the consciousness of aesthetic consciousness occurs. If we want to draw the objective existence of art from the heart which is the origin of art, we must have the heart of "affection" to transform it into the spiritual subject of art. From the heart and the spirit to the objective artistic existence, which also needs "Qi" as a necessary way. "Qi", as a comprehensive function of human's physical life, on the one hand, carries the artistic spirit to the art, thus making the art get the vitality of the spiritual life; on the other hand, it carries the medium on which the art is based to the artistic spirit. Art spirit can choose specific externalization according to the characteristics of media, and form different art categories. Based on Xu Fuguan's theory of the origin of art, the existence and significance of art lie entirely in the spiritual life of the creative subject. In this way, the value of art must also be reflected in the origin of art. According to Xu Fuguan, the character of art lies entirely in the quality of the artist, and the value of art to the appreciator lies in that the appreciator feels the artist's noble heart through art and thus influences his own heart. These are the meaning of "art for life" insisted by Xu Fuguan in the theory of artistic value. In addition, Xu Fuguan holds a negative attitude on the relationship between Buddhism and the spirit of Chinese art, and a critical attitude on the evaluation of modern art. These questions are highly controversial. Therefore, it is necessary to evaluate and discuss these problems after we have a more complete grasp of his art theory from three aspects: the origin of art, the occurrence of art and the value of art.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J0

【引证文献】