【作者】 刘刚；

【导师】 刘增人；

【作者基本信息】 青岛大学 ， 中国现当代文学， 2004， 硕士

【摘要】 丰子恺在现代文学史上是一位散文家，同时也是一位著名的艺术家。通过解读丰子恺的作品，我们发现丰子恺在文学和艺术上的成就，很大一部分源自传统文化的影响。丰子恺生活在传统向现代过渡的特定历史时期，他受到传统与现代的双重影响。本文的主要目的就是要解决传统文化是如何影响丰子恺的，在丰子恺的艺术人生中，传统文化起到了哪些作用。 何为“传统文化”?中国传统文化的内涵是什么?本文借鉴并综合诸多文化学者的定义，认为传统文化是指某一民族在历史中创造并生根于社会之中，代表一定民族特点的，属于理论思维水平的精神风貌、心理状态、思维方式和价值取向等精神成果的总合，它在行进中形成并不断发展，对社会实践产生影响，重点落实在宗教、道德、艺术、科学等之中。中国传统文化往往特指以“五四”新文化运动为界，此前的以儒释道三教为中心的包括阴阳、法、名、墨、纵横、杂、农文化等十多种文化的杂融。中国传统文化是个庞然大物，也可说是“神龙见首不见尾”，为了说理的方便，我们撷取传统文化的三大组成部分：儒家文化、道家文化、佛家文化，和丰子恺的人生和作品进行对照，一一展开分析、论证，梳理、挖掘出丰子恺所吸收的传统文化的因素。 正如恩师李叔同的人生，丰子恺的人生也有“三层楼”：世俗生活、艺术生活、宗教生活。在世俗生活中丰子恺是仁人君子，他的艺术观也是儒家积极入世的、为人生的艺术观；在艺术生活中，他的审美趣味、艺术风格、创作技巧更多的源自贵真尚情、道法自然的道家思想；同时他又有虔诚的宗教信仰和悲悯的宗教情怀。对古人而言，他是现代人；对现代人而言，他仿佛古人。他把艺术与人生合二为一，把现世快乐与千秋情怀融为一体。 透过纷繁的表象直达丰子恺的精神深处，可以发现他的一颗“童心”，这颗童心正是在传统文化的炉火中铸就的。中国文化是“心”的文化，在“佛心、仁心、道心”中，可以探索到丰子恺童心的根源之地。 现代文学是以反传统开始的，但文化非制度、非器物，不可能一刀斩断。在现代作家群中，人们对传统文化的态度也纷繁复杂，受到的影响也深浅不一。20世纪初，摆在中国知识分子面前的一个重大问题就是如何正确对待传统文化。对现代作家丰子恺与传统文化精神联系这一课题的研究，是对传统文化进行的一次反思与借鉴，是对如何正确对待传统文化这一问题的一次探索，也是对丰子恺研究领域的一次深度开拓。更多还原

【Abstract】 Feng Zikai is not only a prose man on the contemporary history of literature, but also a famous artist. Through comprehending his writings, we discovered that the accomplishments of Feng Zikai on literature and art originated Chinese traditional culture to a great extent. Because of living the period of particular transitional history from traditional ages to modem times, he was influenced by traditional culture as well as modern culture. It was the main aim of this paper to figure out how the traditional culture influenced Feng Zikai and to discuss what action was traditional culture acted in the artistic life of Feng Zikai.How is "Traditional culture" ? What is the connotation of traditional culture of China? I thought that traditional culture were the total spiritual fruits in a theory thinking level such as spiritual styles and features, Psychological state, thinking means and the value orientation and so on .which were created by some a nation during the history and took root in the community, represented a certain national characteristics. It took shape during the history and continuously developed and affected greatly the community practice, and it existed chiefly in the religion, morality, art and science, etc. Traditional culture of China, which center were Confucianism, Buddhism and Taoism before "May Fourth New Culture Movement" , was particularly the blending of more than ten culture, including Yinyang, Mo, Fa, Ming, Zongheng, Za, Nong culture and so on. Traditional culture of China was a colossus and it was very complicated.As Feng Zikai his teacher, LI Shutong,, Feng Zikai’s life also had "Three Tiers of Tower ": common customs life, art life, religion life. In the common customs life, Feng Zikai was a benevolent and noble man, and his art idea embodied Confucian thought which was active, attending the reality and life. In the art life, Feng Zikai’s aesthetic interesting, artist style, creating technique stem much from Taoist idea which worshiped true, feeling and natural life.Modern literature started from anti-tradition, but the culture was non- system, non- utensils and couldn’t be cut off. Among the modem writers group, the attitudes to traditional culture of China were numerous and complicated, and the effect that these writers were subjected to Chinese traditional culture was different. On the beginning of 1920’s, how to correctly approach traditional culture of China was a great problem that lived in front of the Chinese intelligentsia. This research task about the spiritual connection between modem writer Feng Zikai and Chinese traditional culture, would be a introspection and reference to traditional culture of China, as well as a probing about how to correctly approach traditional culture. At the same time, we might touch up such a problem which was worth inquiring, namely what was the influence and the aesthetic resources of Chinese traditional culture to modern literature and writers of China.更多还原