论“狂”—泰州学派与明清美学范畴研究

【作者】 童伟；

【导师】 姚文放；

【作者基本信息】 扬州大学 ， 中国古代文学， 2006， 博士

【摘要】 在中国古典美学和古代文论范畴中,“狂”是和“中和”对举的古老的美学范畴。本文通过历史的简要回溯发现,从孔子论“狂狷”开始,狂伴随三次大的思想解放思潮有过三次发展的黄金时期,这是“狂”的理论发展的比较遥远的背景;得力于王阳明心学的沾溉则是“狂”的理论发展比较切近的背景。“狂”在泰州学派推动下,又产生了新颖的内涵,出现了指向近代的审美动向。第一章,梳理泰州学派诸人学说与“狂”有关的各种论述,以历史与逻辑相统一的方法为指导,探究泰州学派推动下的“狂”的历史发展与逻辑演进规律。通过历史的梳理,可以辨认出“狂”经历了三个演变阶段,即狂侠、狂禅和狂狷。所谓狂侠指泰州学派的创始人王艮及其后学徐樾、颜钧、何心隐等人,“狂”首先在日常生活的经验和实践领域得到彰显,表现为践履之美的狂侠,以心灵的狂放气魄为特点,并勇于付诸社会的践履行动。论析从狂侠中人激赏的审美意象入手,经历了从“潜龙”到“见龙”再到“亢龙”的跃迁;以“百姓日用”为审美对象,拓宽了践履的对象范围;从践履之美的内涵看是讲学或者说为“师”;而践履之美的主体落在肉体之“身”上。这些变化说明,审美的重心越来越单一地落脚于主体的意识、意志和情感。所谓狂禅,指主体意识在个体生活、生存和生命的存在层的发展,体现为生存之美,以王艮之子王襞、门人罗汝芳为代表,还有赵贞吉、邓豁渠、管东溟、杨复所等与之学术趋向相近,他们都以现成良知、当下顺适为宗旨,体现出狂禅的总体特征。指出从狂侠过渡到狂禅的中介是“自然”;从审美本体、审美工夫和审美体验三方面探寻“狂禅”在影响渗透的过程中达成的妥协与改造,张扬主体的绝对个人自由感,忘怀一切外在的戒律和束缚。所谓狂狷,以晚明文化史册上最奇特的人物李贽为个案,论述异端之美。李贽的特出就在于,主动承认自己与名教、与正统格格不入,多次不无愤激地对自己冠名以异端。这一节的研究视角是从价值论的视野检讨异端的得与失,而不是从本体论、认识论的角度切入,论证了狂狷的审美价值立场、审美价值目标、审美价值中介和审美价值亏空。李贽的异端意识主要表现为一种自觉的价值批判,虽然也包含理性的思想批判的内容,但它主要不是建立在对儒学思想内部深刻反省的理性基础之上。异端意识在某种程度上的自觉,以及异端从审美的洪水猛兽变成对自我的一种认同、肯定,乃至不无几许自傲,标志着审美价值的转换和审美心理的捩转。以上三方面,从逻辑上,分别对应了行动美学(践履之美)、生命美学(生存之美)、批判美学(异端之美),它们合成了狂的美学品格。第二章,运用审美心理研究的方法,分析“狂”的美感发生和作用的心理机制。“狂”的审美心理特质是非中行,即主体的心理能量自在地释放,审美心意摆脱了伦理主义的限制、处于自由自在、永不满足的进取状态,以此构成了对古典和谐适度的心意状态的否定,也构成了对古典和谐美理想的否定。首先,“狂”是主体审美心理的形式冲动,在审美心理诸要素的组织方式上以冲动为形式。它有三个来源:其一是以身为本的恒常性心理形式“欲”,视、听、嗅、味、肤的五官感知觉是现实具体的生理感受,感性形式的冲动具备了独立自在的性质,势必要撑破伦理内涵的牵制,生理感受主宰心理感受并成为“狂”的常态心理形式;其二是率性任心的情境性心理形式“率”,社会情境下,“身”与“欲”发生变异,它们参与和充实到“率性”、“任心”、“纵情”等一系列范畴的意蕴内涵之中,心、性、情都是内在的包含了人身的感官欲望,或者基于感官欲望的基础,在与常态心理形式保持密切关联的同时,又集中体现了不循规律、不依规矩、不由人力勉强的形式冲动特征;其三是生意活泼的动态性心理形式“生”,“生”意味着对于业已形成的心理形式的颠覆、扭转和重获新生,从不安于现状,不断地突破旧有的形式格套,在生生不息的心理形式的运动变化过程中,极大地激发出主体的心理能量,令人产生耳目一新的效果。其次,论述“狂”的审美心理的内涵沉淀。泰州学派主张任从冲动而生活,他们的动情、率性和从心所欲不在于个人的得失,而在于社会人生理想的某些普遍方面。其一,在“率”包含的突出的时间形式感中,蕴含了个体经验、群体需要和集体无意识的深厚内涵,具体来说,即个人感知经验中对道德情感的理性反思;晚明社会广为传播的禅宗思想影响;儒家思想植根人心的集体无意识。其二,泰州学派对于人欲的认同始终与强烈的社会使命感(道统意识)纠结在一起,在生理满足的本能冲动中蕴含了更高层次的精神性追求,“欲”既是生理的满足,又是精神性追求,通过对于社会群体中人欲的合理满足和调控,建立一个人人安居乐业的理想社会,这是由“从心所欲不逾矩”、“寡欲”到“育欲”的逻辑演变实现的。其三,在安心乐意、任狂恣意的审美心理形式冲动中,勇于承当社会道义和使命,身份卑微而意志高远,认识到理想和现实之间的巨大鸿沟,仍然坚持自己的志向,不怕嘲讽,不怕失败,毫不遮掩,也毫不做作,这正是泰州学派特色的“狂”,在安心乐意的形式冲动中承载了积极进取的社会性内涵。最后,论述“狂”的审美心理反常而合道。泰州学派将美感根源从外在的天理引向了人的心理状态,揭扬情感、直觉、想象、灵感、顿悟等非认知、非理性的主体心理要素,反常合道,在某种程度上切近了审美的真谛。其一,他们主张恢复心体悦乐的“情”,不仅美感是审美过程产生的愉悦的情感,而且主体独特的情感是激发审美快感的根源。审美既是情感的宣泄,又是情感的满足。其二,鼓倡“良知”“赤子之心”等具有高度审美穿透力的直觉、顿悟。审美心理的直觉性根源于人的审美经验的积累,自觉的审美意识沉淀为无意识之后在审美场景中突然苏醒,渗透着高度的理性内容。其三,标举想象、联想等心灵的自由创造,憧憬理想的社会目标,并在想象中构建之。审美有着鲜明的个体心理特色,但个体心理也受社会和群体的制约与影响,体现为对于社会理想的热切向往。第三章,论述“狂”与明清文艺创作理论的关联。泰州学派“狂”的审美心理化育了文学艺术的新景观,契合了文艺创作非理性、反理性的特性,在文学创造心理中激活和弘扬主体情感、欲望和意志,极端重视性灵、至情、灵感、直觉、顿悟等非理性、反认知的心理要素。首先论述文艺创作根于性灵、率性而发的“信”,重点阐析了美在个性的童心、美在深邈的至情和美在疵处的性灵。作为文学艺术创造之根本的心理本体不是常态的执其两端而用之的中和、宁静的情感,而是一种癫狂的情感,是心理能量的过度剩余,凭借心理的形式冲动,狂暴地释放郁积的巨大心理能量,狂的恣意、任性是反抗压抑的手段和形式。接下来论述“狂”“愤”的文艺创造心理,它们不再是稳健中和有节制的情感,而是蕴涵了强大的心理能量,对中国传统美学的教条和规范构成威胁。弗洛伊德心理学尽管有着泛性欲主义的偏颇,但是用文艺创造的心理动力来看狂愤的产生,仍然具有适用性,分析了狂愤的郁积机制、狂愤的宣泄机制和狂愤的价值实现。最后论述适应新兴市民阶层需要的审美范畴“趣”,尖新、怪奇,无所不至,偏嗜满足感性冲动的趣味,尤其是将个体感性存在的自然情欲作为文艺接受的心理基础,具体分析了作为审美期待的生趣、作为审美感悟的真趣和作为审美接受的机趣。总之,对“狂”下属的子范畴的分析,有助于我们了解儒家思想本身潜含的非中和的审美心理因子,在合适的条件催化下,能够在多大程度上背离儒家貌似坚不可摧的中和的审美原则,它又是如何体现了指向近代的审美归趋。更多还原

【Abstract】 Being opposite to the ancient category of“Zhong he”,“Kuang”is also an important aesthetic category in Chinese Classical Aesthetics. It benefits a lot from Yangming School. This dissertation is focused on the aesthetic category of“Kuang”which is developed by Taizhou School of the mid and late Ming dynasty. Taizhou School is not only one branch of Yangming School, but also the most active thinking movement in that period. It can be seen that the spreading of thoughts course in literary theory from Ming to Qing dynasty plays a vital role in the history of Chinese Literature.Besides“the introduction”, this thesis includes three chapters which inquiry deep but not thoroughly into“Kuang”in Taizhou School and aesthetics of Ming-Qing dynasty. Chapter one discusses the unity of the historical development of“Kuang”and its logical unfolding. There are three stages. The first stage is“Kuang xia”, being innate conscious in everyday life and social practice, so it is outstanding for its beauty of social pratice. The representative scholars are Wanggen, Yanjun and He xinyin etc. This paragraph studies the aesthetic image, the aesthetic object, the aesthetic content and the aesthetic subject. The second stage is“Kuang chan”, being innate conscious of individual experience, and is outstanding for its beauty of individual. The representative scholars are Wangbi, Luo rufang and Zhao zhenjie etc. This paragraph points out that the medium between“Kuang xia”and“Kuang chan”is nature, and discusses the aesthetic noumena, the aesthetic self-efforts and the aesthetic experience. The third stage is“Kuang juan”, which means the appreciation of heterodoxy, and the most famous representative of it is Lizhi. From the point view of value theory, This paragraph discusses its valuable problems. It marks the change of the aesthetic value that awareness of heterodoxy can be led towards positive of oneself.Chapter two researches on the aesthetic psychological mechanism of the category of“Kuang”. First of all,“Kuang”means following instinctive impulse of Mind-Heart. There are three sources of instinctive impulse:“Yu”( want ),“Shuai”( following innate knowledge ) and“Sheng”( active and unrestrained consciousness ). Secondly,“Kuang”includes deep connotation of individual experience, social needs and collective unconsciousness. Lastly, although“Kuang”violates ordinary psychological rules, it accords to the aesthetic rules. Taizhou School attaches great importance to pleasant motion of Mind-Heart, intuition and sudden realization, i.e“Liangzhi”( innate knowledge as standard ) and doctrine of childhood-mind, and free creation of Mind-Heart, for instance, imagination and association in one’s mind hoping for ideal social prospect.Chapter three is mainly on the relationship between“Kuang”and literary theoretic categories of Ming and Qing. The psychological mechanism of“Kuang”emphasized on anti-rational knowledge conforms to the characteristics of literary creation. The category of“Xin”( following the innate knowledge of Mind-Heart in composition ) is not tranquil and moderate, but insane and frivolous, which goes beyond normal limit. A new ideal has been accepted by literary reformers that psychological noumena are these various kinds of insane feeling. The category of“Kuang fen”attains excessive emotional energy, which supplies the powerful motive of literary creation. The significance of“Kuang fen”is that individuals can let off their true and unrestrained anger towards the society in their works. This paragraph talks over its smoldering, expressing and value realizing course. The category of“Qu”accords to the needs and interest of newly rising citizens. It means excessive revel of desire and lust. Readers take great delight in sense impulse, especially individual lust having been accepted as the psychological base of literary receiving. This paragraph discusses“Sheng qu”( as aesthetic expectation ),“Zhen qu”( as aesthetic innate awareness ) and“Ji qu”( as aesthetic receiving ).Above all, this essay studies the aesthetic category of“Kuang”and its subsidiary categories. It must be said that the research subject about Taizhou School and the category of“Kuang”has not been paid full attention by the domestic academic circles at present. if this essay has some new exploitation in the field of the subject, it will be the author’s unexpected result.更多还原