【作者】 赵强；

【导师】 王确；

【作者基本信息】 东北师范大学 ， 文艺学， 2013， 博士

【摘要】 “物”的崛起，构成了晚明时代突出的社会症候。它在日常生活层面呈现为物质供给日趋丰富、日用器物形制工艺日趋精美；在社会风气方面呈现为生活“时尚”的形成、蔓延与“奢靡”之风盛行；在文学、艺术和审美领域呈现为审美对象的具象化、物质化和欲望化；在思想和哲学领域呈现为“物”、“物欲”、“物化”成为聚讼纷纭的焦点话题。以“物”为中心话题，采用学科交叉的研究方法，从整体性的视野还原和呈现贯穿于晚明生活、社会、思想文化及审美思潮间的一贯性和连续性，揭櫫晚明时代生活时尚和审美风会之间的交互影响关系，是本文的旨趣所在。论文主体分为五章：第一章在中国古代思想和生活观念传统中讨论了“物”之概念缘起、流变及其所蕴含的思想和生活观念。“物”萌檗于上古时代的生活土壤中，从一个弥漫着神秘气息的“自然物”概念逐渐拓展到人类日常生活和社会实践领域，继而上升为一个哲学和思想概念。这一过程展示了人类不断介入、认识和改造自然的历史，也是自然物不断进入人类生活，内化为人类精神生活要素的历程。“物”在人类生活实践中的作用是根本性的，它不仅为古人认识、理解和把握世界提供了门径，而且塑造了古人的世界观和方法论。“物”的价值和意义主要可以概括为“观物”、“用物”和“体物”三种，分别对应着理性认识、世俗生活和文艺、审美等生活领域。在中国古代思想体系中，“物”与“心”、与人格追求、生活境界以及社会理想间的紧张关系，促使儒、道两家分别形成了不同的“物化”论传统，从而形成了压抑日常生活、日用之物乃至技术的生活观念传统。第二章以“‘物’的崛起”为主题，讨论了晚明社会的“奢靡”生活风气和生活“时尚”问题。“奢靡”和“时尚”反映出日常生活的物质性的凸显与蔓延。其具体呈现方式为物质生活的改善，情感、审美等精神体验的物质化和日常化，亦即一种“生活美学”的兴起。“生活美学”在观念上体现为将“生活”本身看作施展自身才华、寄托情致和才思的“艺术品”；在生活和审美实践中体现为审美和日常生活逐渐趋近、交融，以营造艺术化、审美化的生活情境这一整体视野出发重新品第、评判具体的艺术形式，追求直接地占有物、体验物、满足感官和趣味需求。这种新的生活和审美形态之生成的内在逻辑是，原本由政治力量、传统道德和伦理规范共同组织、运转下稳固的生活形态和社会秩序，正在日益瓦解，逐渐转变成以商业、商品关系为主导。由此也引发了晚明社会秩序的裂变和道德、伦理的危机。“物”在晚明日常生活转型和社会秩序裂变中担当了催化和诱发剂的角色。第三章从明代经济、政治、社会观念等方面讨论了“物”之崛起的历史背景和原因。晚明社会价值、人生和生活观念的嬗变与蝉蜕，与明代政治、经济、社会文化之演进的宏观进程之间保持着历史的一贯性。从经济上说，在农业生产技术、供给水平提高的基础上，大量的剩余劳动力从农村流入城市、市镇，从农业转向工商和服务业，推动了传统“造物”工艺的提升、商业和服务业的繁荣，进而形成了“商品极大丰富”的物质文化景观。在这一整体性社会环境中，以科举为出路的读书人受到严重的挤压，一方面政治环境的严酷、险恶使他们视出仕为畏途；另一方面，科举制度也不能提供足够的生存和发展空间；再加上工商阶层经济实力的提升、“秀才穷鬼”、“做官赔本”等价值判断的盛行，这诸多合力——审美的诱惑、生活的压力、经济和社会地位的弱势、政治生态的恶劣等，瓦解了读书人的自尊心、身份认同，及其安身立命的社会文化、制度根基。士人阶层开始冷峻地审视自身的人生选择、价值和生活观念，逐步与“物”的崛起这一整体性社会生活语境达成妥协，形成了与此相一致的新的生活观念——享“清福”，即切断个体生活与政治、社会环境的关联，投身于个人化的日常生活、物质体验中，以“快乐”为人生和生活的主题，追求感官和趣味的满足，成为探索和践行“生活美学”的主体力量。第四章从文化、思想的角度探讨了“物”之崛起所引发的历史变迁。工商阶层在经济地位提升的基础上，急于改变自身的社会形象、身份和地位，积极结交文人士大夫，摹仿其文明、优雅的生活方式，力图从形式上实现自身的文明化、优雅化。这种生活实践背后实则暗示着晚明社会的另一变局——“技术”的异军突起及其自觉。面对此种社会情形，下层知识分子利用自己在文化方面的优势，为工商和权势阶层提供文化产品、服务，以期满足后者的文化需求，这就推动了文化的商业化、世俗化。在这一过程中，下层知识分子起到了推波助澜的“文化媒介”作用，其自身也发生了分化：坚守传统文化、艺术趣味的艺术家和知识分子成为靠“润笔”为生、引领时代艺术新潮的职业书画家、文人；等而下之的，则沦为富人和权贵阶层的“帮闲”。上层文人士大夫则认为商业化、世俗化侵蚀了文化的正统性、纯洁性，对此严厉批判。然而由于身陷市场和商品关系中，他们不得不与工商阶层妥协，一方面与之周旋、来往，以期维持自身的优裕的物质生活；另一方面又试图摆脱这种尴尬处境。这反映出文化阶层面对商业化浪潮冲击的反抗与妥协。其妥协的结果，除了文化、艺术的商业化、世俗化和生活化以外，更引人瞩目的是形成了一种在“耳目之内”、“日用起居”中发现和获取审美惊奇、愉悦的“生活美学”方法论，从而推动了世俗性、生活化的艺术史新变。面对上述种种社会文化景观和动态，以维护风俗教化为己任的儒家知识分子，如王阳明、吕坤等人，也在积极探讨应对时代课题的新学问。他们在反思思想传统、关注社会生活新动向的基础上，回到儒家原典，通过重新阐释“物欲”、“物化”等话题，提出了“拔本塞源”、“去病根”、“致良知”等一系列极具现实针对性的理论命题。他们所主张的“下学上达”、“事上磨练”等生活原则、实践方法等，推动了明代儒学的世俗化和生活化。第五章以“物化”为主题，分析了晚明“生活美学”的不同生活和审美实践形态，理论前景和现实危机。“生活美学”因其对感官趣味、物质体验的依赖，从本质上说，暗藏着陷入双重“物化”困境的危机：一是审美形态、心理上的具象化、实物化、生活化及欲望化，这是传统儒家“物化”论所批评的重点；二是对商业、商品关系的依赖，这是马克思所言“商品拜物教”意义上的物化。“生活美学”的倡导和实践者们对此已表现出清醒的警惕，他们试图将“闲情”、“闲适”等传统美学概念及其所蕴含的自由精神引入日常生活，把后者由一种超越日常生活的审美体验，转换成日常生活的智慧和方法，从而形成了不同的“生活美学”理论旨趣和实践形态。其中，有以上层文人士大夫如钱谦益、陈继儒等为代表的精致、优雅、提倡“一人独享之乐”的“生活美学”，“借怡于物”构成了其主要的生活和审美实践方法。有以李渔等为代表的“大众生活美学”，倡导以“闲情”和“慧眼”看待生活、经营生活。还有以李贽、“公安三袁”等为代表的标举“快活”、抗拒“物化”的生活哲学，以释放欲望、挥霍“物”、践踏“物”来强化人生体验而又试图摆脱欲望和体验之黏著的生活和审美实践，成为他们抵御“物化”、抗拒人生虚妄荒诞的主要方法。以“生活美学”的视野重新审视晚明文艺思潮，我们会发现，所谓“浪漫洪流”、“人性解放”、“近代价值”等一系列附着在晚明文艺思潮史上的标签，皆是“物”的崛起这一宏大历史背景下的生活时尚和审美风会的“附加值”，是“物化”或“反物化”的“生活美学”整体格局中的一个出于“势之必然”而“道之所不必然”的观念流溢。结语部分对“生活美学”及斯风所渐下晚明时代所呈现出的“浮华”、“虚文”等社会文化景观进行了反思。大众对“时尚”的痴迷与追逐、对感官刺激和形式美感的执著与沉醉表明，晚明乃是一个“文”之“极盛”的时代；然而，这种“极盛”的局面并非文明自身历史沉淀和横向生长的自然硕果，而是商业和资本运作下的畸形产物。这种人为操作下的世俗生活艺术化、审美化暴露出诸多的危机，如欲望泛滥、资源浪费、学风浮躁、文化艺术肤浅化、粗鄙化等。晚明主流社会并未探索、建构起与之相协调的制度和观念制衡体系，这就导致了“文”之“极敝”、整个社会走向腐朽崩溃的历史困局。这是晚明时代所暴露出的历史局限，也是“生活美学”及其倡导者、实践者们在晚明所遭遇的历史悲剧。更多还原

【Abstract】 In the late Ming Dynasty, people’s material life had been a huge improvement. And synchronization had been an unprecedented increase in the artistic and aesthetic connotations in their daily lives. So, in social life, luxury tendency had been more and more obvious, the fashion also had begun to appear. The main purpose of this essay is to discuss the relationship between fashion and art concepts of daily life in the last Ming Dynasty.The whole essay is divided into five chapters.The first chapter discusses the occurrence and evolution of the Wu(物) of this important concept in ancient Chinese traditions of thought, and the implication of its life concept. This paper argues that Wu(物)is an important concept in ancient China. The role it plays in people’s everyday life and cultural tradition is as important as in the field of philosophy. Wu was originally a mystique noun but which gradually became an important concept with rich connotations. These processes to show the history of the human understanding of nature and transform the nature and use of nature, and it also demonstrates the natural world continue to enter the history of human life. In the tradition of the ancient Chinese thought, the role of Wu was summarized into three aspects:Guan-wu(观物),Yong-wu(用物),Ti-wu(体物),and each represented an important area of the practice of human life, such as daily life, philosophy and aesthetic. In the past, people ignored the everyday life and the desire to be seen as the antithesis of good moral personality. So the substances experience in daily life was also subject to unfair treatment. It also caused on the repressed of Wuin people’s everyday life that expressed by a term of Wu-hua(物化).The second chapter discusses the late Ming dynasty luxury life style and fashion. Luxury and fashion confirms the following point of view, that material comforts are becoming increasingly important. For delicate items, the large number of people very interested in, they have invested a lot of money of money and a high degree of enthusiasm. The artistic spirit connotation start let in the meaning of materiality. It led to the collapse of social order, ethical and moral concepts. The reasons behind the unprecedented were the development of the market economy. In other words, the market has become the main force of the dominated people’s lives and actions. The old social patterns and moral concepts can not adapt to the new era. In this sense, the Wu(物)highlights reflect the human mind and social change. The focus of this chapter is to discuss the issue of life aesthetics. In aesthetic theory of living systems, everyday life was looked as art. The intellectuals advocated aesthetic sense of wonder found in everyday life. Is the same as the value in their eyes, paintings and other works of art and daily necessities? This is the answer they gave. Their main experience was in the create a better everyday life situations.The third chapter discusses the political climate of the late Ming dynasty, social attitudes and economic developments. By the late Ming dynasty, the level of agricultural development in China has reached the highest level in history. A large number of farmers came to the cities to make a living. This was to promote the prosperity of the business, as well as raising the level of material and production technology. This is in stark contrast to the intellectuals became more and more poverty. They were really worried about the political environment of the sinister, unwilling to politics. The wages of officials can not meet the needs of everyday life. Many businessmen and craftsmen also joke that they were the beast. These reasons prompted them to begin to reflect on their own life choices. What is the good life? They believed that the rich life can offer their own dignity and decent. So they had begun to pursue a rich material life, happiness that came from material experience. This new concept of life in the late Ming dynasty called Qing-Fu(清福).This chapter continues the discussion about the aesthetics of life. When people were aware of their own poverty, as well as when they have no political future, they had to the main thought on making money above. Under the influence of such a concept of life, people began to consider a range of theoretical and practical methods of living aesthetics. In everyday life, they get happy as the first goal of life. Happy and mainly through the sense of concept experience obtained material comforts. So, in the eyes of many critics, this is an indulgence the materialistic lifestyle is unhealthy and immoral.The fourth chapter discusses the cultural changes of the late Ming dynasty. The enormous changes in the social environment caused a different reaction. Artisans and merchants were eagered to be educated. They do not want to be looked down upon by the intellectuals. So they bought a lot of luxury goods to improve their living conditions. They also imitated the the intellectuals elegant lifestyle. The poor intellectuals and artists made money by selling their artwork. This behavior caused a culture of commercialization and secularization. But the traditional intellectuals extremely dissatisfied. They thought the merchants and craftsmen are vulgar. So they issued a lot of criticism of the social expression and opinion. The most famous critic was Wang Yangming. He was a Confucian, adhere to traditional moral ideals. In the face of the complexity of social change, he published many famous views. He also promoted the transformation of traditional Confucianism contemporary. Compromise the results of the cultural class and the merchant class, cultural sectors of economic return, the merchant class cultural return. Them what they want, which is the social and cultural characteristics of the late Ming era. Under the influence of the aesthetic concepts of life, the late Ming era movement in art has undergone a drastic change. Artists looking for inspiration, attention from the details of daily life and create their works. Novels, paintings and calligraphy art, reflect a clear concern daily life artistic concepts. In today’s perspective, these changes is the late Ming greatest achievements of art history.The fifth chapter discussed the fashion of literary and artistic in late Ming dynasty. Nothing more than the daily problems cause for concern, so people attaches great importance to the performance of everyday life in the literary and artistic themes. Their aesthetic ideas can be named the aesthetics of everyday life. Daily life aesthetics attaches great importance to the physical experience. Many artists and aestheticians were caught fetishism unable to extricate themselves. They also fall into the commodity fetishism. Aesthetics of everyday life in the late Ming era were not enlightenment thought. The life of the United States in the late Ming era credits into three genres. The first one is the more elegant art of living. Their daily necessities are very delicate and expensive, reflect different from the general characteristics. The second is a public life aesthetics. Because there was no strong economic strength as a foundation, so they can change their concepts and ideas to get psychological balance. The third person to see the absurdity and emptiness of life. Their life is full of interest, however, the lack of real love. They want to through indulgence desire to get rid of the shackles of desire.The last part of the article is a summary of the full text. The article believes that the art of living in the late Ming period is a malformation of the social product. It is not the result of natural accumulation of traditional Chinese civilization. But the commercial market, and capital operation that daily life changes. So it inevitably led to a series of social problems. These experiences and lessons learned in today’s perspective, are profound. A healthy society, there should be a sound social system to limit the excessive desire of people. This is the most profound impression obtained from the study of the aesthetics of the history of life in the late Ming.更多还原