哲学与思想史视野中的《中国艺术精神》

发布时间：2018-02-06 06:48

本文关键词： 徐复观庄子艺术精神山水画士技艺　出处：《陕西师范大学》2011年硕士论文　论文类型：学位论文

【摘要】：中国古代知识分子对自然山水的欣赏一向被认为与庄子有关,现代新儒家代表人物徐复观先生的《中国艺术精神》一书可以说是此一见解最直白的表达。然而,庄子本人并无特别的山水嗜好,更不主张归隐山林；徐复观对庄子“山林隐士”的定位其实存在着严重偏差。中国古代的山水话语起源于孔子,表达的是儒家思想情感；庄子与山水的关联,则在于庄子虚、静、明的艺术精神对具体山水艺术作品的创作发挥了重要作用。但徐复观将艺术精神和山水精神都归入到他对庄子精神的理解中,这便使他所讲的庄子带上了两个不能相融的精神面向,而导致他庄学与山水画画学阐释中的混淆与错乱。徐复观高举庄子艺术精神的本意,是借庄子的虚静之心来消解一切世俗名利想念,以达到将儒家从政治中解救出来的目的。但他在艺术的大标题下,宣讲的却是一门特殊的、由中国古代士大夫们专擅的山水画艺术,这就无意识地用儒家的山水意识形态完成了对庄子精神的置换。古代的士大夫们藉山林作为他们暂时或永久回避庙堂的一种方式,但士的政治身份与政治使命决定了他们不可能真正地忘却庙堂。徐复观将庄子山水化,其实是沿循了古代士大夫们所走的道路,把本欲跳出“庙堂一山林”对待关系的庄子重新置入“庙堂一山林”的文化牢笼中,这表明他不能够摆脱古代士人的历史局限性去理解《庄子》。他的《中国艺术精神》只能成为对中国古代士人精神苦难史的追踪与记录,以及他自己在20世纪60年代政治情绪的一种宣泄。他用山水画去救治现代人精神疾患的意图也带有浓郁的幻想色彩。因为坚持山水画的庄学起源,而难以解释《庄子》与山水画兴盛期之间漫长的时间跨度,徐复观对中国山水画学的书写最后呈现出鲜明的复古面貌。这使他不能以一种动态的眼光去看待宋元以后山水画的变迁。他眼中的庄子始终保持为一个严正清高的隐士形象,这也使他不能为中国山水文化中的游乐因素给出合理的说明。艺术在他那里实际成了一种对政治的抗争方式。然而,艺术的抗争毕竟是消极的,庄子艺术精神的表象背后潜伏着一种带有积极社会政治内涵的技艺的思想。对《庄子》的深一步解读表明庄子的期望在草野民间而不在山林。徐复观早年也曾表达过一种使中国知识分子转向民间、彻底从政治中独立出来的看法,但儒者的立场最终阻碍了他将这种见解融入到对《庄子》的释读中。相比之下,更早时候的章太炎反倒在此方面为我们提供了更多启不。
[Abstract]:The appreciation of natural landscapes by ancient Chinese intellectuals has always been considered to be related to Zhuangzi. The book "the Spirit of Chinese Art" by Xu Fuguan, a representative of modern Neo-Confucianism, can be said to be the most straightforward expression of this view. Zhuangzi himself does not have a special hobby of mountains and rivers, and he does not advocate returning to the mountains and forests. Xu Fuguan's position on Zhuangzi's "Hermit of Mountain and Forest" has a serious deviation. The ancient Chinese landscape discourse originated from Confucius and expressed Confucian thoughts and feelings. The relationship between Zhuangzi and landscape lies in Zhuangzi's empty and quiet. The artistic spirit of Ming played an important role in the creation of concrete works of landscape art. But Xu Fuguan classified the spirit of art and the spirit of landscape into his understanding of the spirit of Zhuangzi. This made Zhuangzi bring two incongruous spiritual faces, which led to confusion and confusion in his interpretation of Zhuang school and landscape painting. The intention of Xu Fuguan to hold Zhuangzi's artistic spirit high is to eliminate all worldly fame and wealth by Zhuangzi's empty and quiet heart, so as to achieve the goal of freeing Confucianism from politics. But he is under the broad heading of art. But what preaches is a special art of landscape painting which was specialized by ancient Chinese literati and officials. This unconsciously completed the replacement of the spirit of Zhuangzi with the Confucian ideology of landscape. The ancient literati and officials took the mountain and forest as a way for them to temporarily or permanently avoid the temple and hall. But the political identity and mission of the scholars decided that they could not really forget the temple. Xu Fuguan turned Zhuangzi into mountains and rivers, which followed the road of ancient literati and officials. Chuang Tzu, who wants to jump out of the "temple hall, one mountain forest" to deal with the relationship, is put back into the cultural cage of "temple hall one mountain forest". This shows that he can not get rid of the historical limitations of the ancient scholars to understand Zhuangzi. His "spirit of Chinese art" can only be a trace and record of the spiritual suffering history of ancient Chinese scholars. His intention of using landscape painting to cure modern people's mental illness is also full of fantasy. It is difficult to explain the long time span between Zhuangzi and the flourishing period of landscape painting because of insisting on the origination of Zhuang school of landscape painting. Xu Fuguan's writing of Chinese landscape painting finally showed a distinct retro look. This made him unable to look at the changes of landscape painting after the Song and Yuan dynasties with a dynamic view. In his eyes, Zhuangzi was always kept as a Yan Zheng Qinggao. The hermit image. This also makes him unable to give a reasonable explanation for the elements of amusement in Chinese landscape culture, where art has actually become a form of political struggle. However, the struggle of art is negative after all. Behind the appearance of Zhuangzi's artistic spirit lurks a kind of technical thought with positive social and political connotations. A further interpretation of Zhuangzi's "Zhuangzi" shows that Zhuangzi's expectations are in the grass and not in the mountains. Xu Fuguan also expressed his early views. Once upon a time, the Chinese intellectuals turned to the folk. The idea of being completely independent of politics, but the Confucian position eventually prevented him from incorporating that view into his interpretation of Zhuangzi. Zhang Taiyan earlier on in this respect to provide us with more enlightenment.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J120.9

【引证文献】