【作者】 杨继勇；

【导师】 王汶成；

【作者基本信息】 山东大学 ， 文艺学， 2008， 博士

【摘要】 研究目的和要点:通过研究本文命题之中两者的异同,归纳出万物之间依于本源的共性,即抽象统一性;再将这抽象统一性还原到具体和抽象之间。中国古代传统思想的基本特征是天人合一,可以证明这也影响到了当代西方存在主义哲学,那么中西方两种天人合一影响之下的审美观和文艺观,所体现的共性、差别分别是怎样的?本文把上述问题转换成为论证“显隐说和隐秀说相似甚至可以互代”这命题是否成立、以及为何而成立,若成立则又可据此而求证、归纳出何种结论和启示?该统一性对于审美、现实而言有无价值?为此本文选取中国古代美学“隐秀”说和西方存在主义哲学“显隐”说展开比较研究。因为可证出本文命题之中的这两个学说,都受到了老庄之道的深刻影响,即两者及其许多审美原则都本于老庄之“道”,“道”是两者共有的思想内核、或曰逻辑起点,所以其本体论相近、抽象统一性相通;还可从审美原则、审美思路和表达方式等多方面求证两者的密切关联。其共有的思想内核,也决定了两者都具“万物一体”的境界,所用范畴、理论层次都具有形而上的及难以推论、阐释之特征。可证两者都是围绕着显—隐互动这个线索,即是本于显(显现、秀)—隐(隐蔽、遮蔽)二重性的共时而交互的运作而展开的,本文即是据此线索而在文本和理论、具体和本体、具象和抽象、现实与审美理想、现在和未来、在场和不在场之间,围绕命题设置立体参照系,展开中西古今比较、归纳。第一章重点探“隐秀”说的基本内涵及其所以产生的哲学美学文化资源。方法是避开《隐秀》的残篇之争,而到篇外去寻找“隐秀”说与《文心雕龙》全书、与魏晋人文精神及其与历史思想文化的关联,求证其与《原道》篇、与《易》之爻象、与玄学及言意之辨,以及与儒家、释家、老庄思想等所具有的密切关系,而探其文化底蕴。发现“隐秀”之“隐”的思维路向是:道隐→文要索隐→“隐秀”说之“隐”→归于“境玄”;据该学说之中将隐—秀互动“譬爻象之变互体”,又可证“隐”的审美思辨方式出于《易》;据“夫隐之为体……”,可证这是化用“玄珠”的典故而述为文之道,发现水、珠、道、文之关系是古代美学中暗含的线索,该典故的引用表明“隐秀”说有赞同“象罔”的审美把握方式的意向、蕴含着隐—秀互动的玄机。《隐秀》篇中已将“境”用于审美思维空间而评判,据“隐秀”说之流变和其空间的扩展演进,考察可见“义生文外”这演化成为“象外之象,景外之境”、“情在言外”……及欧阳修和梅尧臣等诗论,即据其融入的踪迹而验证了“隐秀”说是“意境”说之源的观点。在上述分析论述之中,联系了强调隐蔽和显现的“显隐”说的观点:宁要保持着黑暗的光明而不要单纯的一片光明、要求通过在场的显现出不在场的、在思想上将精神曲解为智能是决定性的误解、显现与隐蔽相互构成一个境域、境域是万物之本源等;通过比较而寻找到了两个学说的多方相通之处,其中的许多关系可使我们从中获取历史性的宝贵启示。第二章重点研究两个学说之中所都具有的“隐”的方面。因为可证这两者都以“道”为其逻辑起点,所以都以“有物混成”、“万物一体”为深层思想基础。“隐秀”之“隐”是远奥、不显示自身,分两个层面:第一是“隐之为体”为源点,第二个层面是,“秀”意呈示之余的“情在词外”、“复意为工”和“文外”所归之“隐”。论“隐”必从“秀”说起、论“秀”必探“隐”,亦惟有以“秀”来显示“隐”。“隐”似大海则“秀”如水上所露之冰山……“秀”不用逻辑判断却能尽意,却又必归为第二层次的“隐”,其关系为隐→秀→隐。这和推崇用诗性语言呈示“不在场”之“隐蔽”而获得澄明的思想方式、内涵相似。“隐秀”强调篇中是否存“隐”这是评价作品优劣的标准,“隐”并非创作之晦涩而是蕴籍而味有余,这依赖着鉴赏、神思,且是能否突破天权决定论等禁锢的体现;而这与“遮蔽”、“不在场”的内涵及其互动性相似,都是未经揭示者、含不可言说之神秘。前者是“前主客关系的天人合一”,而“显隐”说是“后主客关系的天人合一”;“隐”和“遮蔽”相通且源点相同,秀一隐、显现与隐蔽的纵深境域,从此中都可以获取逆向索求真理而启蔽的立体参照,这于文艺学建设有着启示价值。第三章兮析求证两个学说之中的诗性相通,即“隐秀”说之“秀”和“显隐”说之“澄明”在内涵、属性上的统一,这体现为中西方思接千载的诗性契合(第二章重点论隐、本章重点论秀和显)。本文创设了释“秀”的多层动态系统,这可使以往释“秀”的各种学说及争议都得其归宿,证明释“秀”为警句、修辞或风格的主张虽各有合理性但过于具体、实在化;释“秀”不应限于在场之显而要索“隐”启蔽,此为“隐秀”说的美学思想基础。可证这和“显隐”说追求诗和澄明的潜在逻辑相通。联系《原道》篇,广义之“文”含垂天丽象、地理山川和动植之文,这感应于天地之心、经人的神思而呈为狭义之文,这广狭义之文都呈现着“秀”,可证明人、文、秀三者互映而统一,“秀”是文之“秀”。据玄学等原理可证,言—意关系对应隐蔽—显现的关系,“隐秀”是意、言、象多重矛盾、有着递进关系的统一体系;“隐”引导着审美主体对“象”的期待、构思而探幽览胜;“隐”待“秀”而明,视“隐”为“体”、“秀”则是“用”,神用象通这和佛学触象而寄的教义有关,“秀”在万物一体之间基于“显”、是实现现实之“显”的前奏,但“显”却并不一定是“秀”;“象”比“形”更超越,所以言说上有万虑一交的难度。从珠玉潜水的隐之为体开始,至澜表方圆的“涟漪”之扩展、至“若远山之浮烟霭”,这中国古典风格的却和“显隐”说的“敞开”、“澄明”及真理的涌现,和世界(敞开性)与大地(遮蔽性)的冲突与斗争等揭示真理的“事件”,在属性、关系上有多重意义的相近;即存在真理的光辉涌现方式相似。也可综合求证两种理论的意向相通:秀—隐和澄明—隐蔽成对应关系,启示着人面对广域而启蔽;“秀”及其空间的生命意象,与澄明、人生、自然、诗性和艺术本源的思考,这和两者的艺术观、自然观和人生观都可以互释,在言说方式上都充满了生命化的图示,都以万物之美映现人生之秀而礼赞着天人合一;人是“秀”的承载者且还是索“隐”行为的发出者,但是秀、有、显却必归于隐、无、玄,所以必须超越经验和人生有限性而发出生命、真理之问,避免仅于在场之中而求真。第四章把隐—秀关系和显—隐关系联系起来研究,可见命题中的两者都是宗于“道”之生成与隐匿、围绕万物一体之间显—隐之变的关系而展开的(也即本文的总线索),这即是两者蕴含着的抽象统一性(对应副标题),其中呈现着保守和创新倾向间的一种张力。这关系又体现于“隐秀”说的“情在词外曰隐”、“隐以复意为工”、“有似变爻”、“文外重旨”及《文心雕龙》之中,这和“显隐”说的真理即是非真理、对于神庙和《鞋》的审美分析方式相似;而都据于“玄而玄”;归纳可见两者的文艺观、真理观和本体观,都试图体现万物一体之间变幻着的隐匿的遮蔽与彰显的升华;都强调不限于经验、事实,而于悖论中求索真理、在单一和复杂关系之中寻通变等,都思及本源而强调着突破有限、延及天道无限;这又也体现为两者的历史性特征,即动态性、开放性和不完满性。第五章考察两种理论其具体审美方式的相似性,归纳其潜在的思路。据有物混成、天道无限、以无为本的思想基础,而归纳出两者审美方式和思路的共性:都遵循直觉体验、强调超越的方式,其真理观的启示都是去蔽之后反归于隐,因精神不能曲解为智能而以语言和诗追求本真。研究可见两者的生成机制和背景有着共性,都面临着该如何消除哲学思维的僵化弊端的时代命题,汉代是长期独尊儒术造成的思想禁锢、西方则是长期把存在者当作存在所造成的局限;两者都强调不局限于具体的存在者而启蔽,都强调诗意之“境”的体验和索“隐”而启蔽之艰;既“隐”又“秀”和“隐以复意为工”、“情在词外曰隐”的肯定和否定,这和认为境域既澄明又遮蔽的分析方式相通。两者都有着人学精神,认为“秀”必归“隐”、人生苦短,人意识到“隐”而力求人生之“显”或“秀”,将文艺归结为人学,文艺不仅是解释美的方式且是真理的家园。在处世方式上推崇“诗意的栖居”,与“隐秀”说所诞生时以“归隐”完善有限人生之“秀”的世风意向相似;两者的表达策略有相似性,文之详略对应着显现和隐蔽,隐显异术与“句子结构不能为物的结构的模型提供标准”等意向性一致,都将文之详略、显隐联系和上升到了本源意义;虽奥非隐、反对雕琢的观点,与强调“让……存在”而超乎技术的境界意向相通;另还可以据“比显兴隐”分析诸多文本中的诗性与规则之间的张力、认识论和存在论之别,比喻之显有诗性和理性两个层面,“兴”实为“隐”之为用、是主客互渗而和主—客关系式相异。研究所获启示及其价值:一、中西方两者思接千载的诗性契合、其抽象统一的根本原因是有着共同的思想内核;这说明中国古代文化所隐含的哲学是存在论的故乡,寻道图强、天道必胜可启示着在新世纪吸收其它民族的先进思想文化、增强软实力,弘扬传统文明而走向世界对话。老庄学说影响了“显隐”说、后者又深刻影响当代中国哲学美学,文明的运行轨迹螺旋式上升而似回到了起点,理论学说超时空而展开往复的历史性对话、深刻影响异域文明,其机制奥妙且发人深思。二、命题中两者间存在客观上的巨大差异,但却本于天人合一而具有很多的抽象统一,这可启示我们以新视角和新思路分析文艺与文艺学现象,深化对文艺本质和特征的理解;中国新世纪的美学和文论如何借鉴而同时获得一种尺度和风度,是值得研究的课题。三、汲取两种理论的要义,本文联系现实构建了显隐互变论的框架,发现显—隐之变的表征是秩序、神思和形式的多重体系,通过语言、情感、虚拟、科技、教育、管理等视角证明了该构建对很多领域有着普遍性和显性价值。诸学科中若忽略索“隐”,必会诱使人们在寻求真理的途中、在实践上沉于当前在场的功利性之显。更多还原

【Abstract】 Research purpose and main points: China’s aesthetics has been influenced by western traditional theory of knowledge and theory of reflection since last Century, with art theory stressing on the relation between the subject and object and on the theory of typicalness, which is a good bleeding with how Chinese traditional thought of the syncretism of human and heaven. In order to have the enlightenment, this article adopts ancient Chinese aesthetic theory and two of contemporary western philosophical theories and compare them. This article firstly proves that the formation of "Yinxiu" is influenced by the thoughts of Laozi-Zhuangzi, while the "Xianyin" theory is also enlightened by Laozi-Zhuangzi theories, thus to discover that "Xianyin" theory and "Yinxiu" theory are related closely to each other.Chapter one a new probe on "yinxiu" theory-an exploration on the source of philosophical aesthetics,Chapter two a probe on "yin" in both "yinxian" and "yinxiu" theory,Chapter three the poetic meaning of the two theories and the interpretation on the identity of humanity,Chapter four the abstract oneness of the two theories: the transition between "xian" and "yin" in the nnity of the world. Chapter five an analysis on the commonness between the two theories;Enlightenment and conclusion,Judging the differenciation of the two theories from the origination of the thoughts,Attempting to propose the theory on the synchronous"xian"and"yin".Basic chain of thought and methods in research: around the relations as in context and theory,concrete and absolute, prosent and past, practice and aesthetic ideal, present and absence,construct three-dimensional frame of reference and then begin comparison between Chinese and western cultures, and then induce the comparison according to the preposition, starting from the part of "Yinxiu" and from the general connotation of "Yinxiu" theory from outside context. This article searches for supporting evidence of relation from the outside of this article with human culture and thoughts of Quanshu, Pre-Qin and Wei&Jin periods. Using "Yinxiu" as stand, this article searchs for cultural background of the formation, philosophical evidence and the state of social culture, in order to explain and enlarge the meaning of "Yinxiu" from different angles. In the above mentioned analysis with reference to the theory of "Xianyin" and the comparison between "covert" and "overt" , this article searches for and studies the reason of communication between the two theories to induce the main ideal of "Yinxiu". A new thought and understanding of "Yin" is covert principle-culture seeking covert-the yin of "Yinxiu"--towards contextual mysteries, for"Yinxiu" stressing on covert is the main body, and furthermore, it makes the covet-mysteries interaction very changeable, this is to prove that covert dialectical thinking pattern from Zhouyi. All in all, yin is far mysterious, remote, absent, unrevealed, it has to be symbolized to be understood, which reminds readers of the original meaning that is, in some degree, mysterious. It is the prime standard whether or not literary works have "Yin". This article argues that "Yin" can be divided into two parts. The first is that "Yin"is the starting point, while the second is that the poetic connotation of "Xiu" existing in the far remote area outside the context, it is related to the "Yin" Orientation in the form of "Yin -Xiu-Yin"."Yin-Xiu" relation is the unity of meaning, utterances and resemblance."Yin" doesn’t mean to pursue the obscure meaning but rely on hard mental working. "Yin" attracts people to explore resorts. In the Yin-Xiu idea exists the mysterious idea combining mystery of Laozi, Zhuangzi, Yijing, Metaphoric Phenomenon Theory, and Buddhism, which is exploration in converse direction, and is of philosophical enlightenment. It insists on the limitations of the heavenly principle.The latest research progress of this article: "Xiu" must be overt, and super-advanced subjuctive mood, but overt may not be "Xiu", thus to prove that the post critics on utterances or articles of "Xiu" is somewhat reasonable, but since "Xiu" falls into routine and concrete so it is limited. This article creates a multi-level dynamic system to explain "Xiu" thus to make all debates find their way out. The life meaning and sign in the sphere of "Xiu", the unity of human culture and nature,human’s "Yin" and culture’s "xiu" are respectively developed from each other, "Yin-Xiu" are synchronous."Xiu" and "Yin", over and covert, they each construct a three -dimensional deep context."Yin" is basic, to which Xiu is second .Yin-xiu theory is related to Buddhism creed."Yin", "Yi","Xiang","Yan","Xiu", they have progressively advancing relationships in the meaning. "Yin" is like the huge sea, while "Xiu" is just a corner of an iceberg coming out of the surface of the sea. "Xiu" can be expressed thoroughly, but can’t be judged logically. So, at last, it belongs to "metaphoric" and "void".This,together with"mystery in mystery"is the instance of the limitations of the universe. Besides, this article also finds that the theory of ’’Yin" as the origin is mechanically-applied use of the story of "Xuan Zhu" explaining the relation between water, beads, principle, and article, showing that rigid formula of appreciating beautifulness mast be canceled. "Yinxiu" theory is the origin of "context" theory of the later time. This is because "ShiJing" a book describing "xiang" of individuals, ignoring the space around objects for the search of context in "Yiuxiu"."Yiuxiu" theory has influenced the poetics of Si kongtu, Jiao Ran. Ou Yangxiu. Mei Yaochen, Wang Guo wei. But it is a pity that "Yinxiu" theory was ignored.Now it is proved that "Xianyin" and "Yinxiu" are related to each other. Under the some background they are developed to cancel the rigidity of philosophy. In antient China, people valued the idea of syncretism of Humanity and Heaven without telling the opposition between subject and object. While "Xian yin"theory tells the idea of the syncretism of Humanity and Heaven, stating the opposition between the opponent part and I. Both regard "Yin" as the base of the universe, realizing that all things are one unity. And both insist on poetic beauty, intuition, and super concreteness, which will come to transparency. Both think that literature is human’s knowledge, it is human that bears "Xiu", and also human who strives for "Yin". Both have transparent and covert analyzing methods, and both think the covert and overt in the world is complicated, and seeking truth is difficult. Both feel it regretful that life is short and hard ."Xianyin"theory advocates "poetic covertness, and "Xianyin"theory then advocates covert, they share similarity. In literary expression ,"Xianyin" adopts different methods, in accordance with "sentence structure can not become the standard of the model of objects structures"advocated in "poetry、languagethoughts thoughts. Both relate articles "Yin-Xian"to the original meaning. Liuxie opposed rigidity, which is in accordance with the analyzing methods in "Temple"and"Shoes by Hydger. Analysis, of the"Temple",’’shoes"shows obvious metaphor, but is different from symbolism. The research above shows: Firstly, this article has the creative result, that if has absorbed the two essential factors relating reality with ideal, concrete with origin, and has created a frame of Xianyin evolution theory , and has found that overt-covert interchangeable sign is the multiplayer system of order ,mental, state and formation. And through language, emotion subjunctive mood, science and technology. education , management and other view of angles ,we can prove the value of this frame suggestion. Secondly: the two theories are interchangeable in many aspects, this conclusion is correct, because principle is the great achievement of Chinese culture. Hydger’s believing in and absorbing of Laozi thoughts suggests that China is really the hometown of the theory of unity of Human-Heaven. Which suggests us that in the new century, we should absorb other nations’advanced thoughts to strengthen our soft strength , and join the world talking .Thirdly, Laozi influenced Liuxie. furtherly, "Xianyin" theory, made its influence on the west culture. While "Xianyin" theory has deep influence the other way round on modern China’s philosophy, making civilization rise spirally, as if making it come back the starting point. The surpassing space and time talks between the above theories, have influenced civilizations of alien countries, being profound and setting people thinking. Different in history and national conditions, yet they share the same unity of Human-heaven theory. China’s new century aesthetics, how can it gain criterion and demeanor? This is worth deep thinking and studying.更多还原