邓以蛰美学思想研究

【作者】 唐善林；

【导师】 王德胜；

【作者基本信息】 首都师范大学 ， 文艺学， 2009， 博士

【摘要】 邓以蛰(1892-1973),安徽省怀宁县人,清代书法家和篆刻家邓石如的五世孙,与同时代著名的美学家宗白华享有“南宗北邓”之美誉。但是,在中国现代美学思想史上,他却近乎被遗忘,至少是不被重视。为了使得在较大程度上遭受忽视的邓以蛰美学思想更鲜明地浮出历史的地表,并在中国现代美学思想史上尽可能得到理性客观地评价,本文拟通过以下几个方面来揭示和探讨邓以蛰美学思想。全文分为引言、正文和余论三个部分。引言主要通过对邓以蛰美学思想研究现状的综述,指出邓以蛰是一个被忽视的中国现代美学家和美术史家,并阐明本文研究的思路方法和主要观点。正文部分包括四章。第一章探讨了邓以蛰“心本”艺术审美本体论,认为其“心本”之“心”包含了“人心”和“道心”两个方面的内涵,并指出邓以蛰美学“心本”特征的形成并不是一蹴而就的,其中大致经历了从“光线颜色”到“情感生命”再到“意境气韵”的三个阶段。第二章旨在探讨邓以蛰美学思想的文化渊源,认为邓以蛰美学及其“心本”特征的形成主要受到了老庄的“心论”哲学的影响,同时黑格尔的“理想论”和克罗齐的“表现论”美学思想也对其产生了较大影响。第三章通过对邓以蛰与宗白华美学思想比较,认为“南宗北邓”这一流行的提法并非空穴来风,而是有学理根据的,因为他们都学贯中西,并各在其美学中形成了标志性的“生命”与“心本”本体特征。第四章通过与滕固“风格进化论”美术史观比较,认为邓以蛰以“体-形-意(理)”和“创-述-变”的理论框架建构了其“辩证发展论”美术史观,这在中国现代美术史观中是极富理论创造性的。余论部分主要以邓以蛰美学为焦点,从审美、启蒙和革命三个角度论述了邓以蛰及中国美学现代建构内蕴的多元性。更多还原

【Abstract】 Deng Yizhe (1892-1973) was born in Huaining county, Anhui province. He was the posterity of Deng Shiru, a famous calligrapher and seal cutter in Qing dynasty. Deng Yizhe and his contemporary aesthetician Zong Baihua were reputed as“south Zong and north Deng”, but Deng Yizhe was rendered almost in oblivion. In order to unearth the neglected aesthetics of Deng Yizhe and give it a reasonable evaluation in the history of Chinese modern aesthetics, this dissertation aims to demonstrate his aesthetics through following aspects.The preface is a summary of literature on the status quo of Deng Yizhe’s aesthetics studies. It pointed out that Deng Yizhe was a neglected modern Chinese aesthetician and aesthetic historian; it also elucidated the research methodology and main viewpoints of this dissertation.Chapter 1 to 4 is the main body of this dissertation. Chapter 1 probes into the aesthetic ontology of Deng Yizhe’s“mind ontology”. It holds that the mind includes human mind and Tao mind. Deng Yizhe’s mind ontology has three phases of evolution from“ray color”to“emotional life”to“Yijing and Qiyun”. Chapter 2 aims at the cultural origin of DengYizhe’s aesthetics. His aesthetics was chiefly influenced by the mind theory of Lao Tzu and Zhuang Tzu, the idealistic theory of Hegel, and the Crocean theory of representation. Chapter 3 compares Deng Yizhe and Zong Baihua’s aesthetics. The version of“south Zong and North Deng”is not completely baseless, but resided in their theoretical backgrounds. They developed the key characteristics of life and mind in their aesthetics respectively. Chapter 4 compares with Teng Gu’s theory of“the evolution of style”in aesthetic history. Deng Yizhe systemized“body-form-meaning”and“creation-interpretation-transformation”to construct his theory of“the dialectic development”in aesthetic history. This is a great contribution for modern Chinese aesthetics.The conclusion extends the multiplicity of the modern construction of Deng Yizhe’s aesthetics and Chinese aesthetics, mainly in the perspectives of aesthetics, enlightenment, and revolution.更多还原