庄子审美体验研究

【作者】 王焱；

【导师】 李咏吟；

【作者基本信息】 浙江大学 ， 文艺学， 2007， 博士

【摘要】 论文对庄子审美体验的整个内在机制,即审美体验的发生基点、获得途径、呈现特质、终极依据等进行了全方位的研究,并对庄子审美体验学说的外部效应,即其历史与现实意义进行了揭示。在引论部分,论文对论题进行了解释,并说明了论题的研究意义所在。对于何为庄子,基于一种相对审慎的考虑,论文将庄子视为写就今本《庄子》一书的人或人们。对于何为审美体验,论文将之界定为生命个体对于生命意义的一种情感体悟。对于庄子而言,生命个体的生存意义,就根植于道之中。因此,庄子的审美体验,亦即得道体验。论文的学术意义主要在于,该研究是对庄子审美体验学说所进行的首次全面系统的考察;而且以庄子的审美体验学说为个案研究,能够帮助我们缝合审美理论与现实经验的一些错位,为我们在研究理念上谋求古典美学本质论与现代美学认识论的深度整合提供一条路径。论文的现实意义主要体现在,能够为当代人超越生存苦难、反拨工具理性、理解中国传统艺术提供理论资源。在第一章中,论文对庄子审美体验的发生基点进行了探讨。庄子为应对现实生存困境、获得身心安顿所提出的两种处世原则——贵生与安命,乃是审美体验发生的基点。所谓“贵生”,也就是珍重生命。庄子更为看重的是生命的质量和境界,而非生命的长度和形体。对于庄子而言,生命是最高的价值存在。只有贵生,才能在乱世中保有实现审美体验的生命载体,才能为审美体验的实现扫清心理障碍,才能在根本上实现社会的整体幸福。为了在乱世中避免非正常死亡,庄子提出了“无用之用”与“与物委蛇”这两种生存策略。所谓“安命”,也就是顺从命运。庄子所安之“命”,即其所认定的超出个人能力之外的无可奈何之事。庄子认为,安命能使人生三大痛苦——生死之困、情欲之困、无道之困自行得以消解。庄子强调安命的根本目的,在于实现心灵自由。因为只有安命,才能使心灵免于无谓的劳顿痛苦,才能把世俗欲求从思虑中驱逐出去,从而为审美体验的发生预留心灵空间。在第二章中,论文对庄子审美体验的获得途径进行了探讨。审美体验的真正实现,有赖于一种“虚的工夫”,而“游世”的理念则是审美体验从准备期转向实质性阶段不可或缺的中介。庄子既反对避世,亦反对入世,而是倡导游世。所谓“游世”,乃是一种既顺应这个社会,又不丧失自我追求的处世理念,即“顺人而不失己”。游世一方面通过形骸维度的“顺人”,保证了其现实意义上的“在世性”,从而为审美体验的发生提供了外在现实层面的保障;另一方面,又通过心灵维度的“不失己”,保证了其精神意义上的“远世性”,从而为审美体验的发生提供了内在心理维度的保障。所谓“虚的工夫”,就是一种生命的减法。它通过遗忘排除感官活动、生理欲望、贪生意识、名利物欲、道德观念、情感波动、知性活动、一己成心等本性之外的八项内容,引领自我体露真性,臻入道境。庄子认为,只有通过虚的工夫,才能领悟道的真妙,所谓“唯道集虚”。在第三章中,论文对庄子审美体验的呈现特质进行了探讨。审美体验主要呈现为三种特质,分别为“至乐”、“逍遥游”与“与物为春”。至乐的审美体验主要具有三个特征:一是“无乐”,即一种超越于世俗意义的苦乐之上的、永恒绝对的快乐境界;二是“静”,即一种宁静超然、无所扰动、澄明通达的心灵状态;三是“自适”,即一种把自我的舒适与满足推向极至的精神享受。“逍遥”与“游”在所指上都指向自由。所谓“逍遥游”的审美体验,就是一种精神的绝对自由。在此自由之境的主体,不仅因为与道相冥,从而获得了充溢天地的博大感,同时也因为摆脱了本性之外一切内容的拘束,从而获得了无滞无挂的独立感。所谓“与物为春”,乃是一种因和谐融洽的物我关系所引发的审美体验,其主要情感特征是“和豫”。一方面,主体与他物自然顺应,相宜无逆,因而“和”;另一方面,主体与他物泯然为一,相亲无碍,因而“豫”。在第四章中,论文对庄子审美体验的终极依据进行了解释。要揭示其终极依据,须得先从“道”与“天”这两个概念入手。道可以概括为万物本根。这其中包含着两层意思:一是时间性的本根,即从宇宙发生学的角度来看,道乃产生万物之根源;二是逻辑性的本根,即从形而上学的角度来看,道乃万物得以存在之根据。本根之道主要具有创生性、同一性、自然性、非物性、本初性、实存性等特征。“自然之天”是庄书中“天”最基本、同时也是最重要的涵义。当自然之天作为一个概念时,它的涵义就是万物之本性,与道作为“万物存在之根据”的涵义相等同。庄子一方面谈天人对立,而另一方面又谈人与天一,这其中的奥秘全在于“人”这一物种的特殊性。庄子的审美体验,是一种“返其性情而复其初”的人生在世的原初生命体验。“反其性情而复其初”,不仅意味着人对本真之性的复归,也意味着人返回到自身与世界的原初关联之中。庄子的审美体验以真为价值指向,同时也包含着本源性的善,实现了真善美的统一。在第五章中,论文对庄子审美体验学说的意义进行了揭示。庄子审美体验学说最显著的贡献,在于构筑了中国艺术精神之魂。审美体验的发生基点——贵生、安命的处世之道,以及从审美体验准备期转向实质性阶段的中介——游世的理念,正是后世许多文人的人生态度;审美体验的获得途径——虚的工夫,正是后世许多文人进行艺术创作的心理前提;审美体验的呈现特质——至乐、逍遥、与物为春的心灵状态,正是后世许多文人在艺术作品中所表现出的情感体验;而审美体验的终极依据——对道与天的体认,正与后世许多文人所领悟到的最高艺术境界相融通。庄子所致力于解决的人生问题——如何摆脱苦难,获得幸福——乃是任何人都要面临的问题。庄子审美体验学说的启示性在于:首先,庄子为个体渴望幸福的诉求,赢得了合法性基础。其次,庄子向世人传授了获得幸福的三大解决方案。最后,庄子告诉世人,个体要获得幸福,就必须与世界和谐相处。危殆性在于:首先,庄子对本可以克制的恶,所采取的妥协策略,对个体幸福的实现构成了威胁。其次,庄子只能使世人从苦难中解脱出来,并不能真正解救世人。更多还原

【Abstract】 The dissertation not only studies the whole internal system of Zhuangzi’s aesthetic experience, such as the starting points of the aesthetic experience, the means acquiring the aesthetic experience, the characteristics when the aesthetic experience takes on and the grounds of the aesthetic experience, but also reveals the external effects, such as historical and realistic significances of Zhuangzi’s aesthetic experience.In introduction, the dissertation explains the title of the thesis, and shows the significances of the thesis.As to "what is Zhuangzi", based on a relatively reliable consideration, the dissertation regards Zhuangzi as the author or authors of Zhuangzi. As to "what is the aesthetic experience", the dissertation regards the aesthetic experience as an apperception of individuals to life. For Zhuangzi, the significance of life is based on Tao. Hence, Zhuangzi’s aesthetic experience is an experience towards Tao.The main learned significances of the dissertation are as follows: above all, the dissertation is the first systemic research on Zhuangzi’s aesthetic experience. In addition, the case study on Zhuangzi’s aesthetic experience can help us survey and modify the current aesthetic theories. The main realistic significance of the dissertation lies in the fact that the research can contribute to relieve sufferings, to remedy the tool reason and to understand the Chinese traditional arts.In chapter one, the dissertation proves into the starting point of Zhuangzi’s aesthetic experience which is "treasuring life" and "obeying destiny".Zhuangzi treasures the quality and spirit of life more than the length and body of life. For Zhuangzi, life is the most important value. One could not possess life carrier to realize aesthetic experience, could not clear away psychological obstacles for realization of the aesthetic experience, and could not thoroughly achieve the entire social happiness, until one treasures one’s life. In order to avoid unnatural death in troublous times, Zhuangzi designed two strategies: one is "being useless"; the other is "winding through spaces".The destiny obeyed by Zhuangzi means something beyond the individual’s ability. Zhuangzi holds that obeying destiny can relieve the sufferings of death, the sufferings of mundane desire, and the sufferings of immorality. Zhuangzi’s emphasis on obeying destiny is to realize the freedom of life. One could not release oneself from psychological sufferings, could not drive mundane desire out of one’s thought, and could not prepare for realization of aesthetic experience, until one obeys destiny. In chapter two, the dissertation proves into the means acquiring Zhuangzi’s aesthetic experience. The realization of aesthetic experience depends on a method named "emptiness"; "wandering in the world" is the indispensable step from preparation to essence.Zhuangzi disagrees to forsake the world or save the world, but advocates wandering in the world. Wandering in the world is a living attitude of conforming to the society but not losing oneself. "Conforming to the society" guarantees the realization of aesthetic experience externally, and "not losing oneself ensures the realization of aesthetic experience psychologically.A method named "emptiness" leads one to show one’s nature and apprehend Tao by means of forgetting or forsaking sensory activities, physiological desires, ever-longlived consciousness, morality, emotional fluctuation, intellectual activities and individual prejudices.In chapter three, the dissertation proves into the characteristics when Zhuangzi’s aesthetic experience takes on. The aesthetic experience has three characteristics: the first is "greatest happiness"; the second is "carefree wandering"; the third is "being kind with others".The aesthetic experience of the "greatest happiness" has three features: the first is "none-happiness", that is an absolute and eternal happy feeling beyond common sadness and happiness; the second is "peace", which means serene, calm, clear and smooth spiritual status; the third is "self-comfort", which regards true self-satisfaction as the ultimate and eternal spiritual enjoyment.The meanings of "carefree" and "wandering" both point towards freedom. The aesthetic experience of the "carefree wandering" is absolute spiritual freedom. One in the free status can acquire a glorious feeling and an independent feeling."Being kind with others" is an aesthetic experience arising from harmonious relationship between the object and the subject, whose feature is harmonious and cheerful feeling. On the one hand, one can acquire harmonious feeling when one conforms to others naturally; on the other hand, one can acquire cheerful feeling when one believes oneself and others are identical and intimate.In chapter four, the dissertation explains the grounds of Zhuangzi’s aesthetic experience. In order to reveal the grounds, we should explain the terms "Tao" and "Heaven" at first."Tao" means the root of the world. This includes tow meanings: one is the root in the viewpoint of time, that is to say Tao is the power creating the world; the other is the root in the viewpoint of logic, that is to say Tao is the basis on which the world exists. Tao as the root mainly has six features: creativity, identity, nature, none-object; originality and reality."Nature" is the most important meaning of "Heaven". When as a term, "Nature" equals "Tao" as the basis on which the world exists. On the one hand, Zhuangzi thinks that nature and human are opposite; on the other hand, Zhuangzi holds that nature and human are identical; the secrets lie in the fact that human being is a special species.Zhuangzi’s aesthetic experience is an experience towards original life, which not only means one returns his nature, but also means one return the original relationship between oneself and the world. Zhuangzi’s aesthetic experience points towards reality, and includes the primitive goodness, that is to say Zhuangzi’s aesthetic experience embodies the combination of realtiy, virtue and beauty.In chapter five, the dissertation reveals significances of Zhuangzi’s aesthetic experience.The obvious contribution of thoughts on Zhuangzi’s aesthetic experience is having constructed the spirits of Chinese traditional arts. The starting points of the aestheticexperience--"treasuring life" and "obeying destiny", and the indispensable step frompreparation to essence--"wandering in the world" is the living attitude of manyliterators. The mean acquiring the aesthetic experience-- a method named"emptiness" is the psychological condition on which many literators create arts. Thecharacteristics when the aesthetic experience takes on--"greatest happiness","carefree wandering" and "being kind with others" are experiences described by manyliterators. The grounds of the aesthetic experience--the realm of "Tao" and "Heaven"is the same with the supreme realm in many literators’ mind.The living problem Zhuangzi commits himself to solve--how to get rid ofsufferings and possess happiness is a problem everyone is bound to confront. The enlightenments of the thoughts on Zhuangzi’s aesthetic experience are as follows: firstly, Zhuangzi lays a reasonable foundation for desire of individuals for happiness. Secondly, Zhuangzi imparts three means to possess happiness. Lastly, Zhuangzi holds that one need to get well along with the whole world in order to possess happiness. The harms of the thoughts on Zhuangzi’s aesthetic experience are as follows: firstly, Zhuangzi’s compromise with evils that could be restrained threatens happiness of individuals. Secondly, Zhuangzi only can release people from sufferings, but can not save people from sufferings.更多还原