【作者】 袁宏；

【导师】 马龙潜；

【作者基本信息】 山东大学 ， 文艺学， 2008， 博士

【摘要】 作为理学宗师,周敦颐融合儒、道、佛思想建构的思想体系不仅对宋明理学具有开创性意义,而且为宋代及后代美学理论奠定了基础。周敦颐理学美学思想是对儒家美学、道家美学、佛家美学的融合与创新,是从哲学的高度对美学基本问题的阐释,是对中国美学精神的传承与发展。本文从以下几个方面对周敦颐理学思想的美学特质进行解读:根据其“太极”观分析“太极”之圆融美、动静美、和谐美;在对其“君子观”和“圣人观”进行研究的基础上展现刚健、中和、高洁、洒落、尚拙的君子人格和以“乐”为本的圣人境界:在“象”与“意”、“文”与“道”、“乐”与“礼”的关系中分析“文以载道”的美学意蕴。本文共分六个部分,正文为四章,旨在从美学的角度阐发周敦颐的理学思想,并对周敦颐理学思想影响下的文学思想进行具体分析。绪论部分通过对周敦颐相关材料的介绍与理学、理学美学等基本概念的辨析开启正文,一方面为周敦颐理学美学思想的研究提供相关的基本认识,另一方面深入分析了周敦颐理学美学研究何以可能的问题。这一部分首先通过生平、讲学、后人对其思想的研究与评价阐明周敦颐在理学思想发展史中的宗师地位,总论以周敦颐理学思想为基础研究其美学思想的思路。其次是在对理学、理学美学等概念及理学与美学关系辨析的基础上,结合理学美学研究现状阐明周敦颐理学美学研究的可行性,为正文研究提供立论基础。同时,在对周敦颐理学美学研究何以可能这一问题深入分析的基础上,本文阐述了从理学美学的维度研究周敦颐美学思想的理路。绪论部分旨在从不同的角度论证从理学美学的角度阐释周敦颐美学思想的可行性、必要性与重要性。第一章对周敦颐以“太极”、“诚”为本体的理学思想体系进行分析,为其理学美学思想的分析提供哲学基础和阐释理路。首先是对以“太极”为核心范畴的天道观的分析。周敦颐继承了《系辞》和庄子的“太极”思想,运用“太极”展现“易”之道,消解了“太极”的物质性、实体性,把“太极”作为无形无象的精神本体,从而确立了“太极”在其哲学体系中的本体地位。其次,对以“诚”为本体的人道观的分析。周敦颐运用《周易》的思维方式从天道的角度对孟子、《中庸》的“诚”进行了本体论证,并具体阐明了由士到贤、由贤到圣、由圣到天的成圣之道。通过对以“太极”为核心范畴的天道观和以“诚”为本体的人道观的分析,从整体上对周敦颐理学思想加以梳理,突出了周敦颐基于“天人合一”思想建构思想体系的特征。本章从天道、人道的角度分析周敦颐思想体系的理路为其理学美学思想研究提供了基本的结构和思路,“太极”之美是从美学的角度对天道思想的解读,君子人格与圣人乐境则是对人道观内蕴的美学思想的阐释。第二章是对周敦颐以“太极”为核心范畴的天道观所蕴含的美学思想的阐释。“太极”不仅是周敦颐理学思想的核心范畴,也是其理学美学思想的重要概念。从美学角度来看,“太极”是一个富有生机的生命本体。“太极”动静生阴阳、五行从而化生天地万物以至“万物生生,而变化无穷”的过程中所蕴含的无限“生”意是对古代美学中生命意识的传承与发展。本章首先分析了“太极”融合中国古代的“圆”美思想和佛教的“圆融”境界而呈现的圆融美,具体体现为“太极”形式、逻辑上的“圆”美和“太极”作为一种生命体验所能达到的圆融境界;其次,结合“太极”之动静观分析了“太极”“神妙万物”的动静美,“太极”动静生阴阳以化生天地万物的状态既微妙无形又无穷无尽,是对物之动静的超越,是自然而然、自由自在的存在;再次是在“太极”、“人极”相贯通的思想上分析“太极”之天地人和谐美。“太极”所蕴含的圆融美、动静美、天地人和谐美共同体现了周敦颐理学美学的圆融特征。第三章是通过对周敦颐理学思想中君子人格和圣人境界的分析展现其理学美学人格美特征。周敦颐融合天道、人道于一体而建构的思想体系的理论重心在于人道,旨在为世人道德修养提供天道依据和“人极”理想。周敦颐思想的这一特征为解读其理学美学的人格美特征提供了理论基础。本章对周敦颐理学美学人格美特征的分析主要包括两个方面:首先,基于周敦颐理学思想中的君子观,对《爱莲说》与其思想体系中内蕴的君子人格内涵进行阐发。“道充为贵,身安为富”的思想为君子提供了安身立命之本,君子既不同于“无为”的狷者(隐逸者),也不同于“志极高而行不掩”的“狂者”,“莲”与“菊”并举展现了君子安贫乐道而又积极入世的刚健、中和之人格美。同时,周敦颐化用了儒家君子与小人对举表述君子品格的思维方式,通过“莲”与“牡丹”对举表现君子不慕富贵、不纠缠于名利宠辱的高洁、洒落的人格美。《拙赋》一文通过“拙者”与“巧者”对比,表现君子尚“拙”的审美风尚。《爱莲说》、《拙赋》与周敦颐理学思想中的君子观互为表里,共同展现了君子的人格美。其次,周敦颐通过对孔子、颜子思想的研读,并结合自身的体悟,提出了“孔颜乐处”以表现至善与至美高度统一的圣人乐境。本文主要从两个方面对圣人乐境的审美意蕴进行阐发,一方面是对颜子安贫乐道所达到的与天地精神相往来的境界的分析;另一方面是对孔子“道德高厚,教化无穷”所达到的“赞天地之化育”、“与天地参”之乐境的阐述。前者是超越富贵贫贱、内心充盈了“道”所体悟到的人生之“乐”境,后者是超越个人道德乐境的大乐,是孔颜乐处的至高境界。周敦颐思想体系中君子与圣人并论,具有超越性的圣人境界与根植于现实的君子人格相互补充,完善了周敦颐理学思想中人格美学思想。第四章对《太极图》之“象”与“意”、“文”与“道”、“乐”与“礼”的关系进行辨析,阐明了周敦颐理学思想影响下以“道”为本的文艺观。首先,本章着重分析了《太极图》之“象”与“意”,一方面对《太极图》直观之“象”所包括的五个部分逐一进行图解,另一方面是在对《太极图》之“象”图解的基础上结合其图式来源对其所尽之“意”加以阐发。在此基础上,结合《太极图》所尽之“意”对《太极图》之“象”蕴含的融通美、易简美、动态的对称美进行了深入分析。同时,对于“言”、“象”、“意”的关系,周敦颐提出以“意”为本,“言”、“象”并重的观点。其次,对于文道关系,周敦颐提出了“文以载道”的观点。“文以载道”是以“道”为本的文道观,是周敦颐将“文”纳入其融天道、人道于一体的“道”(即“太极”)的思想中提出的观点,为宋明理学影响下的文学思想提供了理论基础和开阔的视野。“文以载道”的观点体现了尚“实”、重“质”的文论思想以及对平淡朴实文风的推崇。周敦颐的诗文创作是对其“文以载道”主张的践行:一方面,其诗文通过对诗人一生经历体验的表述直接或间接地承载了其思想体系所论述的“道”;另一方面,其诗文的整体风格与其思想体系建构的基本原则有着内在的一致性,呈现出简约平淡的美学风格。其三,周敦颐将礼乐思想纳入其思想体系中,从形而上的层面对礼乐关系加以阐释,提出礼与乐先后、表里的关系。在此基础上,周敦颐侧重论述了时下衰微的“乐”:一方面,通过古乐与今乐及其作用的对比,彰显了乐的政治教化功能,提出了变今乐、复古乐的政治主张;另一方面则通过古乐与今乐的对比,在乐“和”思想基础上,将“淡”之美引入乐中,阐明了“淡而不伤,和而不淫”的审美理想。本章通过“象”与“意”、“文”与“道”、“乐”与“礼”的关系辨析所阐明的文艺观是周敦颐理学美学思想在文艺领域的体现,是对天道、人道所蕴含的美学思想的直接呈现。余论部分在对周敦颐理学美学思想总结的基础上进一步论述了其在传统美学中的地位以及对当代美学建构的启示。从中国传统美学发展史的角度分析,周敦颐理学美学融合了宋代前的儒家美学、道家美学、佛学美学,形成了以儒学美学为本位的理论形态,开启了宋明理学美学,周敦颐理学美学是对传统美学的转型与发展,在中国传统美学中具有承上启下的作用。从当代美学的角度观照周敦颐理学美学,周敦颐理学美学思想的融合性为当今美学建构提供了兼收并蓄、融通和谐的开阔视野和思维方式。同时,周敦颐理学美学中天人合一的思想、既现实又超越的理想人格和审美境界等内容为当代美学提供了丰富的理论资源。更多还原

【Abstract】 As the initiator of neo-Confucianism, Zhou Dun-yi had constructed theoretical system which not only had initiating significance to neo-Confucianism in Song and Ming Dynasties but also established a basis of aesthetic theory in Song and the later periods. Zhou Dun-yi’s neo-Confucian aesthetic thought fuses and renovates Confucian aesthetics, Daoism aesthetics and Buddhism aesthetics, which has explained basis aesthetic questions from the perspective of philosophy and develops Chinese aesthetic spirit. The dissertation’s purpose is expounding the aesthetic feature of Zhou’s neo-Confucian thoughts: the aesthetics of mediation, motion & still, harmony of Taiji based on Zhou’s idea of Taiji, it interprets personality of gentleman and realm of sages; it analyses aesthetic connotation of "writings are for conveying truth".This dissertation is composed of six parts in which there are four chapters in the main body. Its intention is interpreting Zhou Dun-yi’s neo-Confucian thought from the angle of aesthetics, and analyzing his literary thought under the influence of neo-Confucian thought in detail.The Introduction introduces relevant materials about Zhou Dun-yi and discriminates basic concepts such as neo-Confucian, neo-Confucian aesthetics to start the dissertation. It gives relevant cognition on the study of Zhou Dun-yi’s neo-Confucian aesthetic thought, and analyses deeply its feasibility. Firstly, it introduces the important position of Zhou Dun-yi in the history of neo-Confucianism through all his life and estimation of descendants about his thoughts in order to indicate the train of thought of the dissertation. Secondly, it supplies argument basis for the main body by clarifying the feasibility of the study of Zhou Dun-yi’s neo-Confucian aesthetics. At the same time, it expounds the study angle of neo-Confucian aesthetics in the dissertation. In a short, the Introduction demonstrates the study’s feasibility, necessity and significance.The first chapter analyses Zhou Dun-yi’s neo-Confucian system in which Taiji and honesty are the noumenon in order to give philosophical basis and logic. First part is the analysis of Tao of heaven using Taiji as the core category. Zhou Dun-yi inherited Xi Ci and Zhuang Zi’s thought of Taiji in order to define its substantial position in his philosophy system. Second part is the analysis of humane Tao whose noumenon is honesty. Zhou Dun-yi applied Zhou Yi’s mode of thinking to the argumentation of Mencius’ honesty and detailed clarification of the way of becoming sages from scholar to worthy person; then from worthy person to sages. The intention of carding Zhou’s neo-Confucian system as a whole is to highlight the character of his thought system established on the harmony between nature and human beings. The logic of research from Tao of heaven to humane Tao in the chapter gives basic structure. The aesthetics of Taiji comes from interpreting Tao of heaven from aesthetic angle, and personality of gentleman and realm of sages comes from expounding aesthetic connotation of humane Tao.The second chapter interprets aesthetic thought embodied in Tao of heaven. Taiji is not only the core category of Zhou’s thought system, but also the important concept of his neo-Confucian aesthetic thought. From the aesthetic angle, Taiji is life noumenon full of vigor. Indefinite creativity in the process of Taiji producing everything develops life consciousness in Chinese ancient aesthetics. Firstly, this chapter analyses Taiji’s aesthetics of mediation which amalgamates aesthetics of circle in Chinese ancient aesthetics and aesthetics of perfect syncretism in Buddhist culture. Secondly, it interprets Taiji’s aesthetics of motion & still based on idea of motion & still, which shows Taiji in free existent fettle. Thirdly, it analyses aesthetics of harmony of heaven, earth and human beings based on amalgamation of Taiji and Renji. In a short, the aesthetics of Taiji embodies the feature of perfect syncretism in Zhou Dun-yi’s neo-Confucian aesthetics.The third chapter analyses personality of gentleman and realm of sages of Zhou’s neo-Confucian theory in terms of beauty of personality. Zhou’s theory laid a strong emphasis on the humane Tao, aiming to provide basis for people’s moral cultivation. Based on this feature, the chapter interprets beauty of personality of Zhou’s neo-Confucian aesthetic thought from two aspects. Firstly, it discusses personality of gentleman in his theory and Ai Lian Shuo. The thought of full of Tao to settle life is major thing for gentleman. Different from the mad and the hermit, gentleman is pleased in poverty and delight in Tao. Personality of gentleman is vigorous and neutral based on this idea of life. At the same time, the chapter analyses the noble and plain personality of gentleman which is represented by the contrast between lotus and peony. His essay Ai Lian Shuo, Zhuo Fu and his idea of gentleman are each other’s exterior and interior to represent beauty of personality of gentleman. Secondly, Zhou Dun-yi proposed the concept of Confucius and Hui’s cheerfulness based on Confucianism and Hui thought. The chapter interprets aesthetic connotation of Confucianism and Hui’s cheerfulness from two aspects: one is the realm being pleased in poverty and delight in Tao; the other is the realm to participating in the generating things of heaven and earth, which transcends personal pleasure in morality. In short, the realm of sages and personality of gentleman supplement with each other, which perfects Zhou’s personality aesthetics.The fourth chapter interprets Zhou’s conception of literature and art by discriminating the relations between Image and Idea, Essay and Tao, Yue and Rites. Firstly, it puts emphasis on Image and Idea of the Taiji Diagram in order to interpret its aesthetics by that of mediation, simplicity, moving symmetry. Secondly, in the idea of "writings are for conveying truth", Tao is the substance of his conception of literature and art. Zhou puts Essay into his theory and contact it with Tao, which provides theory foundation and wide ken for literary thought under neo-Confucian in Song and Ming dynasties. Zhou’s literary creation practiced his view. His poverties and essays not only show his idea by describing his experience and feelings, but also have the same style with the principle of his theory. Thirdly, Zhou Dun-yi maintains that Li is earlier than Yue. Based on the view, he put emphasis on Yue which was declining at that time. The contrast between ancient Yue and new Yue puts Yue political teaching function in a prominent position and then he proposed the political view that was changing new Yue to ancient Yue. At the same time, he interpreted the aesthetic ideal of mean and harmony. In a short, Zhou’s conception of literature and art is the direct presentation of his neo-Confucian aesthetic thought.The Further Discussion interprets the position of Zhou Dun-yi’s neo-Confucian aesthetic thought in Chinese ancient aesthetics and its revelation to the construction of modem times aesthetics. It is important link in the history of Chinese ancient aesthetics because it initiated neo-Confucian aesthetics of Song and Ming dynasties basis on amalgamation of Confucianism aesthetics, Daoism aesthetics, Buddhism aesthetics. From the angle of modern times aesthetics, not only does it bring rich theoretical resources, but also its feature of amalgamation provides a wide field of view and mode of thinking.更多还原