【作者】 苏状；

【导师】 汪涌豪；

【作者基本信息】 复旦大学 ， 文艺学， 2008， 博士

【摘要】 闲是中国古典美学的重要范畴,其一方面指示着儒道禅的最高人生境界,是文人的一种审美人格;同时又标示着闲暇自由的现实文化活动,是文人的一种审美生活。与其他美学范畴比较,闲的重要意义不仅体现于艺术审美中,更重要的是体现于文化审美中。故本文运用文化美学的研究方法,系统地探求闲之于中国古代文人的审美人生意义,此在国内还是首创。文章首先对闲之字源字义、体用二维、内涵精神、审美关联以及于中国古典美学范畴中的重要地位进行宏观概论。接之,从纵横两条线索展开研究。前四章从纵向文脉上,以闲之母范畴为中心,把握闲于不同历史时期具有代表性的重要概念、术语和命题,以此来观照闲于文人审美意识、文化生活、艺术理论中的重要美学意义。具体包括先秦“心闲”作为人生境界和“闲居”作为生活方式之奠定;中古“闲情”作为审美意识之确立、“闲业”作为文化艺术实践之展开以及“闲”作为艺术创造理论之运用;唐宋元“闲意”、“闲味”作为审美人格之完成、“闲话”、“闲谈”、“闲评”作为文化艺术评论之兴起以及“闲”作为艺术风格理论之成熟;明清“闲趣”作为世俗审美情调、“闲赏”作为世俗审美生活之表现以及“闲文”、“闲笔”作为艺术体法之提倡。第五章从横向上,以闲之子范畴为中心,把握具有审美意义之子范畴群于艺术批评中的运用。包括标示审美心胸的“闲静”范畴序列,标示“有为而自然”审美品格的“闲丽”、“闲雅”范畴序列,标示“无为而自由”审美品格的“闲旷”、“闲逸”范畴序列。最后,文章对相对较少运用于艺术批评语境的标示时间性、身体性的“闲暇”范畴序列予以说明,由此窥见古代“休闲”范畴向现代转换的可能,并对现代休闲作以适当的文化和审美反思。更多还原

【Abstract】 "Xian" is an important category in Chinese classic aesthetics. On one hand, it is an aesthetic personality in view of pointing to the highest spiritual state of Confucianism, Taoism and Zen. And on the other, it is an aesthetic lives in light of expressing the free cultural activities in leisure time. As compared with other aesthetics categories, it is of great significance for "Xian" not only embodied in art aesthetics, but more in cultural aesthetics. So from perspective of the cultural aesthetics, the paper systematically researches the aesthetic meaning of "Xian" for the traditional scholars’ life in china, which is domestically original.After sketching word source, two dimensions, connotation spirits, aesthetic relations and the important status among Chinese aesthetics categories of "Xian", The paper starts into the main part from the vertical and horizontal clues.The former four chapters as a vertical clue, centering on the meta-category of "Xian" including some representative concepts, terms and propositions, master the aesthetic meaning in scholars’ aesthetic consciousness, cultural lives and art theories. Concretely, the settlement of "Xin-Xian" as a spiritual state and "Xian-Ju" as a life style during the Pre-Qin dynasty; the establishment of "Xian-Qing" as aesthetic consciousness, the launching of "Xian-Ye" as cultural art practice, and "Xian" as art-creating theory during the Han, Wei, Jin, and Northern and Southern dynasties; the accomplishment of "Xian-Yi", "Xian-Wei" as aesthetic personality, the rise of "Xian-Hua", "Xian-Tan", "Xian-Ping" as cultural and art talking, and "Xian" as maturity of art-style theory during the Tang, Song and Yuan dynasties; the performance of "Xian-Qu" as secular aesthetic appeal, "Xian-Shang" as secular aesthetic lives, and the advocation of "Xian-Wen", "Xian-Bi" as art type and skill during the Ming and Qing dynasties.The fifth chapter as a horizontal clue, centering on sub-category of "Xian", master the use of the sub-categories with much aesthetic meaning in art critical theories. Consisting of "Xian-Jing" category sequence as aesthetic spirit; "Xian-Li", "Xian-Ya" category sequence as adorning but natural aesthetic style; "Xian-Kuang", "Xian-Yi" category sequence as non-adorning and free aesthetic style.Finally, the paper gives some discuss on "Xian-Xia" category sequence characteristic of corporality and time and without much aesthetic use, through which to see the possibility of traditional "Xiu-Xian" category transforming to modern leisure; and at the same time, make some cultural and aesthetic reflection on modern leisure.更多还原