【作者】 张乾坤；

【导师】 程相占；

【作者基本信息】 山东大学 ， 文艺学， 2008， 硕士

【摘要】 当代的环境美学要求传统美学突破其狭隘的界限,将其研究视野扩展至整个环境领域。在某种意义上说,新兴的环境美学是对传统美学的一种反驳和修正。一般说来,环境美学研究的对象就是环境,即如何审美地感知环境、如何设计环境以及环境的审美价值。所谓环境,不仅包括自然环境,而且还应包括田园环境、园林环境、城市环境以及居室环境。本论文所说的环境主要是指涉自然环境、园林环境和居室环境。论文试图将李渔置于明清时期环境美学思想的总体背景和框架中来研究其环境审美思想。论文共分三章。第一章围绕如何审美地感知环境展开论述。在广泛地搜罗明清时期大量的山水游记和诗文的基础之上,论文将明清时期的环境审美模式作了一下简要地梳理,归纳出三种环境审美模式,即以人为参照的环境审美模式、以艺术为参照的环境审美模式和审美移情的环境审美模式。李渔习惯以艺术为参照审美地感知周围的环境,这与李渔具有高度的艺术素养是分不开的。第二章围绕环境的审美价值展开论述。论文将明清时期的环境审美价值从底到高概括为三层次:第一层次,在生理上,置身于优美的自然环境之中,领略自然山水之美不仅能够缓解躯体的疲劳,恢复健康,强健体魄,而且还能够祛病谢医,疗养身心。第二层次,在精神上,欣赏自然山水,能够荡涤人的胸襟,超凡脱俗,使人淡泊清心,致虚守静。第三个层次,置身于优美的环境,可以养其天倪,从而达到与太虚同游的境界。环境具有什么样的审美价值,因人而异。就李渔而言,环境的审美价值可以归纳为两点:第一,体验山水,不仅能够祛病谢医,而且还能够延缓衰老,具有很好的养生功能。这种独特的环境审美价值是与李渔在日常生活中一贯重视的养生思想是分不开的。第二,体验山水,能够触发某种道德感悟。论文认为,自然山水能够触发道李渔的道德感悟是与他的亲身经历有关。第三章围绕如何设计环境展开论述。论文以李渔生活时代为背景,将李渔的环境设计原则概括为三个:借景、因地制宜、参照艺术。在此基础上,论文还深入探讨了李渔环境设计的个性特色及其原因,认为当时的审美风尚及李渔的艺术个性影响了他环境设计的个性特色。总之,李渔是明清时期环境审美的杰出代表,他的环境审美思想不仅内涵丰富,而且极具个性特色。深入研究李渔的环境审美思想,不仅有利于我们了解明清时期环境审美的大致情况,而且还能为方兴未艾的环境美学的建构提供某种借鉴。更多还原

【Abstract】 The contemporary environment aesthetics requires the traditional aesthetics to breakthrough its narrow limit, expanding its horizon to the entire environment field. In a certain sense, the emerging environment aesthetics is a kind of amendment and contradiction to the traditional aesthetics. Generally speaking, the environment is the subject of environment aesthetics research, that is to say, how to aesthetically apperceive environment, how to design environment and the aesthetic value of the environment. The so-called environment, not only include the natural environment, but also include rural environment, the garden environment, urban environment and the living room environment. In this thesis, the environment primarily implies the natural environment, the garden environment and the living room environment.The thesis tries to put Li Yu into the overall context and framework of the Ming and Qing Dynasties environment aesthetics idea to study his environment aesthetic idea. The thesis is divided into three chapters. Chapter 1 on how to aesthetically apperceive environment. On the basis of widely collecting a lot of travel and landscape poetry of the Ming and Qing Dynasties ,the thesis will organize briefly the Ming and Qing Dynasties environment aesthetic model and sum up three environment aesthetic model: the environment aesthetic model to man as a reference model ,the environment aesthetic model to art as a reference model and the aesthetic empathy of environment aesthetic model. In the Ming and Qing Dynasties, Li Yu customarily refer to the art to apperceive surrounding environment.This is inseparable from the fact that Li Yu has the high degree art literacy. The second chapter on the environment aesthetic value. The thesis generalizes the environment aesthetic value of the the Ming and Qing Dynasties from the end to the high in three levels: the first level, from the physical, outside the beauty of the natural environment, appreciating the beauty of the natural landscape can not only ease the fatigue, restore health and strenthen physique, but also keep away from all kinds of illnesses and recuperate body and mind. The second level, the spiritual level, enjoying the natural landscape can clean up one’s heart, free from earthliness and make one not seek fame and wealth. The third level, outside the beautiful environment can raise his days(yang qi tian ni), so as to wander the Taixu realm. What kind of environment aesthetic value varies from person to person.On the Li Yu, the environment aesthetic value can be summarized in the following two points: First, experienceing natural landscape, not only can free from illnesses and retard aging ,but also has good health function. This unique environment aesthetic value of Li Yu has something to do with attaching importance to the regimen in his daily lives. Secondly, experienceing natural landscapes, can trigger certain kind of moral sentiment. The thesis believes that the natural landscape triggering Li Yu’s sentiment has something to do with his personal experience. Chapter III on how to design environment. In the context of the Li Yu’s times ,the thesis generalizes Li Yu’s environment design principles for three profiles,that is, borrowing landscape, adjusting measures to local condition (yin di zhi yi)and refering to the art. On this basis, the thesis also discuss Li Yu’s personal characteristics of the environment design and the reason.It is believed that the aesthetic fashion of the day and Li Yu’s artistic personality influences his personal characteristics of environment design.In short, Li Yu is an outstanding representative of environment aesthetic in the Ming and Qing Dynasties.His environment aesthetic ideas has rich content, taking on highly personalized features. Deeply studying Li Yu’s environment aesthetic idea, not only help us to understand the environment aesthetic of the Ming and Qing Dynasties generally, but also provide some inspiration for the construction of the ascendant environment aesthetics.更多还原