《世说新语》美学研究

【作者】 董晔；

【导师】 陈炎；

【作者基本信息】 山东大学 ， 文艺学， 2007， 博士

【摘要】 作为魏晋时代人生哲学和文艺美学的结合体，《世说新语》由特定的社会、人生和思想诸种因素酝酿而成，书中所表现的文人士大夫独有的精神气质与审美情趣对后世影响甚巨。如果对《世说新语》进行“辨体明性”的研究，即辨其外在的文体和体貌、明其内在的本质和特性，我们可以发现：它虽然不是一个纯粹的美学文本，但却是一部完全的审美之作。《世说新语》已经基本结束了先秦两汉时期美学依附于政教道德的狭隘境界，将艺术审美与魏晋士人的生命意识及个性追求熔为一体。本文尝试从美学的角度全面、深入地解读《世说新语》，对其审美文化特征进行有意识发掘和系统整理。全文共包括六个部分，主要内容如下：导言部分说明了两个问题：一是选题的理论依据和意义：二是本文的研究思路和方法。现今学界主要从文学文献、历史文化和语言修辞这三个方面研究《世说新语》，而忽视了从艺术审美的角度进行集中探讨。所以，新时期无论研究《世说新语》还是探讨魏晋时代各种思想的著述中，有关它审美文化特征的描述虽然不少，但往往不是流于片段就是仅以其内容作为论据。宗白华先生是第一个真正意义上从美学角度研究《世说新语》的人，他的《论<世说新语>和晋人的美》一文，既是对本选题学术意义的肯定，也使本人在学理层面上丰富、超越前辈思想成为可能。本文正是在宗先生对中国古代文人及古典美学的存在方式之诗意化、文学化的透彻理解的启发下，遵循他所开辟的研究路径，对其提出的问题进行补充和申发。第一章着重考察《世说新语》的文本意图。因为研究任何一部作品，首先应搞清楚它的文本性质。围绕着在内容上是否“记事实”和在创作上是否“有意识”这两个方面，我们对《世说新语》的文体进行考辨。《世说新语》的独特文体来自对子、史两大文化传统的合理继承与锐意创新，呈现出雏形时期的小说努力挣脱史传束缚的清晰脉络。虽然《世说新语》具有十分重要的史料价值，但它终究不是历史著述。当然，它也不是一般意义上的“小说”，因为中国古代的“小说”是一个发展着的概念，《世说新语》只代表着它的一个发展阶段，显示出历史与诗性的完美结合。就作者的创作动机而言，刘义庆等始终从“赏心”的角度进行观照和选择，因此造就了它整体上较为一致的文化品格；就作品的叙事原则而言，整个文本在叙事上以审美为原则，通过对特定情境之下人物的内在品性、风神的瞬间展示及众多的片段性言行进行凸现，形成了一种异代同时、异域同地的独立自足的诗性时空系统；就读者的阅读接受而言，读者们首先并且主要接受的是这部作品中让他们感兴趣的东西，它留给人们更多的是审美的印象和诗意的感受。第二章主要论述人物品藻与人格审美的关系。因为宗白华、王瑶、李泽厚、刘纲纪等诸位先生都指出了人物品藻与中国文论、美学的密切关联。但人物品藻由来已久，它只是到了“世说新语时代”始才获得相对独立的、审美的意义。从先秦时期自发的人物品藻，到两汉制度化的人物品藻，再从《人物志》到《世说新语》，都为我们展示了人物品藻的源流及审美风尚的变迁。人物品藻的标准，从标榜“经行明修”，到注重个体才智，尤其在《世说新语》中，又从重视个体之“才”转向欣赏人格之“美”，有力地推动了人格个性美的张扬。人物品藻一旦脱离了实际的政治需要，也就促进一种审美人格的形成，而审美人格的挺立是“魏晋风度”的显著标志，同时也伴随着新道德思想的开拓，所以无论对人格个性美的张扬，还是对人物风度、神韵的崇尚，都构成了魏晋时代最引人注目的审美文化景观。《世说新语》中的人物品藻讲求“形”与“神”的有机统一，它们既推崇内在的精神气质美，也重视外在的形体姿容美，因此逐渐形成了“清”、“神”等审美范畴。第三章专门分析“魏晋士人的行为艺术”，并探讨魏晋风度与中国古代士人人格建构的关系。因为《世说新语》中多有对士人放达、任诞行为的描写和欣赏，而且这些行为与人格审美、“魏晋风度”等有着十分密切的关系。我们之所以把魏晋士人的诗意生存方式及放达、任诞行为等统统看作“行为艺术”，是在更为宽泛的意义上，主要就他们行为活动本身的无目的性或曰“艺术性”而言的。因为从根本上说，无论哪种“行为艺术”都是自由的生命活动。魏晋士人大多采取自我消解苦痛的、审美的人生态度，使生活本身成为诗意的存在，把个体的行为比作精神的、审美的对象。无论是“乘兴而行，兴尽而返”，还是“人生贵得适意尔”，都表明他们善于在自己的日常生活中化俗为雅，将生存本身艺术化。他们标榜“礼岂为我辈设也”，主张“越名教而任自然”，都是让生命回归自然，所以各种奇异的怪言肆行本身就具有审美的意味。无论是“醉”还是“裸”，都是一种对身体极限的陌生化表演。当然，魏晋风度的形式和实质既是统一的，也是分裂的。我们大可单就其“形式”作一番美学考量，却也无法回避对它的“实质”进行理性辨析。所以，“越名教而任自然”仅具个性表现的形式，而无个性表现的实质，它不仅消解了个体在现实世界中实现“自我”的对象化过程，而且最终使个体“自我”的意识堕落到低级的生物学水平，因此与真正“个体化”或“个性化”的途径有着根本的不同。名士形象毕竟掩饰不住他们存在的“非个体化”的真相，在魏晋士人风流潇洒的叙事表象背后，是他们痛苦、挣扎的心灵以及与时代的冲突。第四章重点阐发《世说新语》中的自然审美思想。“世说新语时代”人与自然的关系，已经不再囿于功利实用的目的，而是由一条感情的纽带联结起来，变得更加亲近，也更加富于审美的意味。一般认为，人们把山川自然作为独立的审美对象，是从南朝宋代开始的，所谓“庄老告退，而山水方滋”。实际上，“庄老”和“山水”在较长的历史时期内是并存的。在《世说新语》中，对山水自然美的认识与观赏超过了以往任何一个时代，魏晋士人把自然当作体现玄理和获得玄趣的桥梁，在他们看来，能领略山川自然之美，就能深悟宇宙造化大道，从而让精神自由往来于天地之间。魏晋士人徜徉于景色秀丽的山川自然中，宅心玄远、鄙薄事物，以至登临游览之风盛行一时，对山水自然的观赏也从往昔的祭祀、巡狩等功利活动中独立出来，成为一种专门的社会性活动。怡情山水既是魏晋士人所特有的“自然意识”，也是他们生活中不可缺少的组成部分，这与其避世全身的现象密切相关，在“仕”与“隐”之间，自然审美成为一种重要的精神寄托。从金谷之会到兰亭禊集，魏晋士人可谓“坐而获逸，遂起宿心”。自然美从作为社会美、人格美的陪衬和背景的附属地位中解放出来，以一种崛然而起的姿态走向独立，成为人们广泛、自觉的审美对象。这种自然审美意识的拓展，不但为以山水田园为主题诗、画、文及园林艺术的兴盛打下了基础，也进一步推动了美学理论的发展。从某种意义上说，自然、人物和艺术品评的三位一体，代表了中国古典美学的一种思维方式。余论部分探讨了《世说新语》在中国美学史上的地位与影响。《世说新语》为我们勾勒出一幅魏晋士人生活的百态图、众生相，它不再担负“文以载道”、“文以明道”的使命，而是在自己的艺术生成及文化传播过程中，逐渐地作为一种作者与读者共同参与和把玩生活的方式，并且这一过程本身也伴随着中国文学和美学的历史的变迁。虽然《世说新语》并非专门论述艺术审美的著作，而且其内容材料也多是较为杂散的故事片段，但它在美学上的意义却不亚于同时代的其他作品。从形式上看，“世说体”为后世文人所纷纷效仿，而且由人物品藻开创的意象批评法直接影响了后来的诗话、词话等；从内容上看，它的“志人”特质和重“情”色彩，使中国古代的文艺美学思想发生了根本的转变，而且后世很多小说、戏曲中的故事情节均来源于《世说新语》；从风格上看，其以“玄韵”为宗，崇尚“简约玄澹”的美，成为“神”、“韵”乃至“意境”等范畴和理论的先导。这些都在中国古代美学史上具有重要的开拓意义。更多还原

【Abstract】 As a combination of life philosophy and literary aesthetics in the period of Wei-Jin Dynasty, Shi Shuo Xin Yu is the result of interaction of many factors such as particular society, life, and thought etc., presents literati’s spiritual temperament and aesthetic taste which has deep influence on the future generations. If we carry out "the Study of Literary Style", which analyses its’ outside style and confirms its’ inside essence, we’ll find out that:Shi Shuo Xin Yu isn’t an aesthetics text, but a complete aesthetic work. It has almost finished the narrow state of Aesthetics depending on political morals in Pre-Qin and Qin-Han Periods, and integrated aesthetic taste with Wei-jin’s life consciousness and character-pursuing. From the angle of Aesthetics, this paper tries to discover intentionally and sort systematically its’ aesthetic cultural characteristics. The full text consists of six parts, the main contents as follows:The introduction contains two problems: theoretical bases and significance of this topic selection; the thoughts and methods of this text. The Academics explore Shi Shuo Xin Yu from the angle of document, history culture and language rhetoric presently, but neglect the angle of aesthetics. Therefore, in the new time, all kinds of works which descript Shi Shuo Xin Yu’s aesthetic cultural characteristics, usually are unilateral and only based on its’ contents. It is Zong Baihua who explores Shi Shuo Xin Yu from the angle of aesthetics firstly. His On Shi Shuo Xin Yu and the Aesthtic Tendency of Jin Dynasty not only affirms this topic selection, but also provides the possibility of enriching and transcending previous scholars’ thought on the academic theory level for us. Enlightened by Mr. Zong’s clear understanding of Chinese ancient literatus and Classical Aesthetics’ way of poetic and literary existence, this paper follows his track, supplement and expound his issues.The first chapter puts emphasis on Shi Shuo Xin Yu’s textual intention. That exploring any work should begin with clearing up its’ textual essence. Around two aspects of "Realistic Content" and "Intentional Writing", we verify Shi Shuo Xin Yu’s literary style. Its’ special literary style, which presents clear track of novels trying hard to get rid of the ties of history and biography, results from reasonable inheritance and innovation to Zi, Shi two greatest cultural traditions. Though Shi Shuo Xin Yu has very important historical data value, it isn’t historical work after all. Of course, not being the "novel" on the general meaning, Shi Shuo Xin Yu only represents one phrase in the course of the development of the Chinese ancient "Novel" and present perfect combination between history and poetics, because the Chinese ancient "Novel" is a developing conception. In the light of creation motive, Liu Yiqing etc. always observe and select from the angle of "Shang Xin", which results in consistent cultural character on the whole. In the light of the narration principle, the whole text takes aesthetic as principle and represents the human’s character, demeanor’s momentary demonstration and many part words and actions in particular context, which results in the self-sufficient poetic space and time system that includes the interaction of similarities and differences. In the light of reading acceptance, it is interesting things that readers accept firstly from this work, which brings aesthetic impression and poetic feelings to people.The second chapter puts emphasis on the relationship between Character Review and Character Aesthetics. Zong Baihua, Wang Yao, Li Zehou, Liu Gangji and other authors have recognized the close relationship among Character Review and Chinese Literature Theory , Aesthetics. Though Character Review has an age-long origin, the very first time to talk about it with the aesthetics sense is "Shi Shuo Xin Yu Time". From spontaneous Character Review in the Pre-Qin Dynasty to systematizing one in the Han Dynasties, from Ren Wu Zhi to Shi Shuo Xin Yu, these all display the change of Character Review’s origin and aesthetic trend. The change of Character Review’s standard ranges from glorifying "Jing Xing Ming Xiu" to emphasizing on individual talents, particularly from paying attention to individual "Talent" to appreciating individual "Beauty" in Shi Shuo Xin Yu, which strongly spreads individual beauty. Once Character Review gets rid of actual political need, it will contribute to the formation of an aesthetic personality, which not only marks "Wei-Jin Demeanor", but also constitutes the most outstanding aesthetic cultural landscape in spread of individual beauty, Character Demeanor and Metre worship in Wei-Jin Dynasties with expanding new moral thoughts. Character Review in Shi Shuo Xin Yu stresses the organic unity of "Figure" and "Spirit": the outside grace and inside beauty. So, the aesthetic categories such as "Qing", "Spirit" and so on gradually come into being.The third chapter puts emphasis on "Performance Art of Wei-Jin’s Literati" and discusses the relationship between the Wei-Jin Demeanor and Chinese ancient literati’s personality construction. Shi Shuo Xin Yu describes and appreciates literatus’ unconstrained and Self-willed behavior relating to personality aesthetics and "Wei-Jin Demeanor". In a wide sense, for the aimlessness and artistry of literatus’ behavior, we regard literatus’ poetic survival method and unconstrained and Self-willed behavior in Wei-Jin Dynasty as "Performance Art". Fundamentally speaking, whichever "Performance Art" is, it is a free life activity. Wei-Jin’s literatus almost adopt self-dissolution and aesthetic life attitude which makes life itself of poetic existence and individual behavior of spiritual and aesthetic object. They are good at making vulgarity in the daily life of elegance and existence itself of art, no whether "Their Going Back and Forth is In Accord with Own Temperament" or "the Worthiness of Life Lies in Pleasing". To let life return to nature, they glorify that "It is very Unnecessary that We Obey the Confucian Ethical Code" and "Transcending the Confucian Decrees While Following the Nature". As a result, all kinds of strange words and actions have the aesthetic meaning. No whether "Inebriation" or "Nakedness", they are defamiliarization in body limit. Of course, the form and substance of the Wei-Jin Demeanor are united and splintery. We can reconsider its’ "Form" from the angle of Aesthetics including analyzing its’ "Substance" reasonably. Therefore, that "Transcending the Confucian Decrees While Following the Nature" hasn’t the substance of the individuality performance, but the form of this. It not only dissolves the objectivity process of individuality realizing oneself in reality, but also depraves self-consciousness into the low biological level. So, that "Transcending the Confucian Decrees While Following the Nature" doesn’t equate to "Individualization" or "Individualization". The status of literati can’t cover the truth of non-individualization existence. Behind romantic story, the literatus’ painful and struggling soul conflict with the modern world.The fourth chapter puts emphasis on natural aesthetic thought. The relationship of human and nature in "Shi Shuo Xin Yu Time" no longer limits practical purpose, but get closer and more aesthetic meaning through an emotional bind. Generally, people views nature as independent aesthetic object since Nan-Song Dynasty, i. e. "the Natural Landscape Appears after Zhuang Zi and Lao Zi". In fact, "Zhuang Zi and Lao Zi" and "Natural Landscape" exist together in longer period. The recognition and appreciation of natural beauty in Shi Shuo Xin Yu surpass former ages’. The Wei-Jin’s literati take nature as metaphysics and bridge to it. In their eyes, that grasping the natural landscape beauty will lead to deeply comprehend the truth of cosmos circulation and shuttle spiritual freedom in the world. The Wei-Jin’s literati wander about beautiful nature with metaphysical and proud heart, so that the trend of climbing and traveling is in fashion and the appreciation of natural landscape is divided to become specialized social activity from past utilitarian activities such as sacrifice, hunt and so on. Placing feelings on landscape is not only "nature consciousness" that the Wei-Jin’s literati have specially, but also a necessary part in their life, which relates to the phenomenon of escaping from reality to save their life. Between "Being official" and "Being hermit", nature aesthetics becomes an important spiritual consignation. From Jin Gu Zhi Hui to Lan Ting Xi Ji, the Wei-Jin’s literati are called "Inaction Brings Comfort, hence Being Hermit is in Fashion". In Shi Shuo Xin Yu Time, natural beauty is liberated from the subsidiary status of social and personal beauty to become self-conscious aesthetic object with a kind of independent airs. The expanse of this natural aesthetic consciousness not only lays foundation for the pastoral poetry, paint, article and the art of gardens, but also further push the development of Aesthetic Theory. In a sense, the combination of nature, person and critique represents a mode of thinking of Chinese Ancient Aesthetics.The last chapter puts emphasis on the position and influence of Shi Shuo Xin Yu in Chinese Aesthetic History. Shi Shuo Xin Yu delineates myriads of appearances about the Wei-Jin’s literatus’ life. It no longer undertakes the mission of "Articles are for Promulgating Truth", "Articles are for Expressing Truth", but gradually becomes a method which readers and authors take part in and play with life in the process of own artistic generation and cultural spread, which is with the change of Chinese Literature and Aesthetics. Though Shi Shuo Xin Yu doesn’t discuss Aesthetic Taste specially and its’ material mostly are miscellaneous fragments, its’ aesthetic significance is no less than other contemporary works. In form, on one hand, with "Shi Shuo Style" imitated by future literatus, imago critique resulting from Character Review has direct effect on later generations’ Poetical Notes and Phrase Notes etc. In content, not only the features of "Depicting Humanity" and "Feelings" change Chinese Ancient Aesthetic Thought fundamentally, but also story details of later generations’ novels and dramas originate from Shi Shuo Xin Yu too. In style, centering "Metaphysics" and worshiping "Simple and meaningful" beauty become the pioneer in aesthetic categories and theories such as "Spirit", "Metre", even "Poetic Imagery" and so on. These all have made great contributions to Chinese Aesthetic History.更多还原