本文選題：“生” + 晚明及清��； 參考：《山東師范大學(xué)》2009年碩士論文

【摘要】： 美學(xué)范疇作為美學(xué)網(wǎng)絡(luò)上的紐結(jié),在建構(gòu)美學(xué)思想體系中有著重要的意義。各個歷史時期都有其獨(dú)特的美學(xué)范疇�！吧狈懂牭某霈F(xiàn)和演變經(jīng)歷了較為復(fù)雜的過程,它萌芽于唐,發(fā)展于宋,深化和成熟于明清。本文對“生”范疇的演變過程、美學(xué)內(nèi)涵、形成原因作了較為全面的梳理。本文共分為四部分。 第一部分對“生”的美學(xué)觀念的發(fā)展歷程作了簡要的說明,主要從哲學(xué)和美學(xué)兩個方面來分析,闡述了“生”最初由《周易》認(rèn)為的“生”主要是指宇宙的生生不息,到如何演變到具有美學(xué)意味的文學(xué)創(chuàng)作和文學(xué)風(fēng)格上的“生”�！吧弊鳛橐粋�獨(dú)立的哲學(xué)范疇出現(xiàn)在《周易》中,“生生之為易”、“天地之大德曰生”,《周易》認(rèn)為宇宙最崇高、最可貴的品德是“生”。春秋時期諸子百家也提倡重“生”思想,從重視人的生命發(fā)展到認(rèn)識宇宙萬物的生命可貴。哲學(xué)的重“生”反映到審美思想上是對“生”的追求,這種追求開始于唐代的審美趣味的轉(zhuǎn)變,到了明清時期達(dá)到頂峰。 第二部分重點(diǎn)闡述了“生”的審美內(nèi)涵。從文學(xué)風(fēng)格上來說,表現(xiàn)為形式上推陳出新,內(nèi)容上不落窠臼、別具一格。而創(chuàng)新就意味著變化,正所謂“變則新,不變則腐。變則活,不變則板”。其次從文學(xué)創(chuàng)作上看,是經(jīng)過生硬——雕琢——自然這三個階段,達(dá)到自然而然、不雕不飾的創(chuàng)作境界。藝術(shù)作品是經(jīng)過長期艱苦的藝術(shù)技法和語言媒介的修煉,才能達(dá)到爐火純青的高度自由境界。任何成功的文藝創(chuàng)作,技巧的錘煉是一個必經(jīng)的過程,藝術(shù)品的創(chuàng)作過程大多是經(jīng)歷了從生到熟,再由熟到生這三個階段。從境界上說,“生”追求的就是返樸歸真、不工而工的人生境界�！笆臁焙笾吧本褪沁@種最高境界,是絢爛之極的平淡自然,它沒有任何雕琢的痕跡,純粹是老子所言的“大巧若拙”的境界。 第三部分主要分析“生”成為晚明及清的獨(dú)特審美范疇的原因。首先是明代中葉的浪漫主義文藝思潮的誕生起到了一種催化劑的作用,導(dǎo)致人們的審美心理發(fā)生了變化。明代中葉資本主義生產(chǎn)關(guān)系的萌芽和市民階層的崛起,以及與之相對應(yīng)的主體的自我觀念、個性自覺和情欲迸發(fā)等文化意識的上升,再加上宋明理學(xué)對人們思想的禁錮、對情感欲求的束縛等因素釀成了一場浪漫主義思潮。這場思潮最突出的表現(xiàn)就是文人對自我價值的確認(rèn)和追求。其次是文學(xué)創(chuàng)作規(guī)律的影響以及創(chuàng)作主體自身的原因。在一種文學(xué)風(fēng)格創(chuàng)始的時候,它必須有一種革新的精神,而且常常是在另一種風(fēng)格成熟、眾人模仿成風(fēng)的時候針對舊風(fēng)格的流弊而加以革新。再次是哲學(xué)禪學(xué)的滲透,使求“生”思想的發(fā)展有了指引。哲學(xué)是時代的靈魂,反映著一個時代思想動態(tài)的內(nèi)在脈搏,每一個時代所發(fā)生的各種重大歷史變化最終必然會在哲學(xué)思想上表現(xiàn)出來。最后是商品經(jīng)濟(jì)的沖擊,晚明時期出現(xiàn)這種審美意識,其社會根源主要是資本主義商品經(jīng)濟(jì)的萌芽,推動了這股思潮的蓬勃發(fā)展。 第四部分說明“生”作為晚明及清的一個獨(dú)特的美學(xué)范疇,并不是孤零零地存在著,它和其他的美學(xué)范疇有著千絲萬縷的聯(lián)系,但又有本質(zhì)的不同。這部分主要對“生”和它相近意義上的“拙”、“樸”,以及它的對立面“熟”等作比較,來更加清晰的把握它的審美內(nèi)涵�！吧迸c“熟”,是文學(xué)藝術(shù)創(chuàng)作的兩大基本要求,“熟”是“生”的基礎(chǔ),“生”是“熟”的升華。只求“生”,作品艱澀難懂,不知所云。只求“熟”,作品落入窠臼,不免流俗。“拙”、“樸”與“生”一樣,也被看作是一種藝術(shù)高度成熟的標(biāo)志。不同主要在于“拙”、“樸”反對形式上的雕琢,以最樸實、最原初的創(chuàng)作來彰顯作品的內(nèi)涵。 結(jié)語說明了“生”不僅是晚明及清代的一個重要的審美范疇,而且還說明它的審美特征對今天的文學(xué)創(chuàng)作和發(fā)展都有很大的借鑒意義。首先從文學(xué)藝術(shù)創(chuàng)作上來看,要想達(dá)到“生”境,第一要素是苦練基本功,這是藝術(shù)成就的根基和源泉。正如鄭板橋所說:“四十年來畫竹枝,日間揮寫夜間思,冗繁削盡留清瘦,畫到生時是熟時”。其次求“生”要掌握適度的原則。過分追求“生”,過分張揚(yáng)主體的個性特征創(chuàng)作,不分良莠生吞活剝,以“生”、“怪”為取向,聲稱要引領(lǐng)時代新潮,忽略從精神意趣上去領(lǐng)會把握,忽視從學(xué)養(yǎng)上充實其內(nèi)涵,那么最終的結(jié)果只能是因缺乏真功夫、真性情而成為過往云煙。
[Abstract]:The aesthetic category, as the knot on the aesthetic network, has an important meaning in the construction of aesthetic ideology. All historical periods have its unique aesthetic category. The emergence and evolution of the category of "Sheng" experienced a more complicated process. It sprout in the Tang Dynasty, developed in song, deepened and matured in the Ming and Qing Dynasties. Cheng, the aesthetic connotation, the reasons for a more comprehensive combing. This article is divided into four parts.
The first part gives a brief description of the development course of the aesthetic concept of "Sheng", mainly from two aspects of philosophy and aesthetics, and expounds that "Sheng", originally thought of "Sheng", mainly refers to the life of the universe, and how to evolve into the "birth" of literary creation and literary style with aesthetic meaning. As an independent philosophical category, it appears in the book of Zhouyi, "life is easy", "heaven and earth's virtue said", "Zhou Yi" thinks the universe is the noblest and the most valuable character is "life". All the families of all the people in the spring and Autumn period also advocated the thought of "life", from the importance of life to the life of the universe. "Sheng" reflects the pursuit of "life" in aesthetic thought. This pursuit began with the change of aesthetic interest in Tang Dynasty and reached its peak in Ming and Qing Dynasties.
The second part focuses on the aesthetic connotation of "Sheng". From the literary style, the expression is the form of the new, the content is not stereotypes and unique. And the innovation means change, the so-called "the new, the constant is the corruption, the change is the life, the same plate". Secondly, from the literary creation, it is through the rigidity - carve nature. In these three stages, the artistic creation is a high free realm through long and hard art techniques and language media. To the three stages of maturity, from maturity to life. From the realm of state, "Sheng" seeks to return to simplicity and return to the realm of life. The "life" after the "ripe" is the highest state, a brilliant and plain nature, and it has no trace of any carve, and is purely a realm of the old son's "clumsy and unclumpet".
The third part mainly analyzes the reason why "Sheng" has become the unique aesthetic category of the late Ming and Qing Dynasties. First, the birth of the romantic literary trend of thought in the middle of the Ming Dynasty was the catalyst, which led to the change of people's aesthetic psychology. The germination of the relations of production of capitalism in the middle of the Ming Dynasty and the rise of the citizens' stratum, and it's The self concept of the corresponding subject, the rise of cultural consciousness such as the consciousness of individuality and the bursting of passion, as well as the confinement of thought in the song and Ming Dynasty, and the bound of the desire for emotion, a romantic trend of thought. The most prominent manifestation of this trend of thought is the literati's recognition and pursuit of self value. The influence of the law and the cause of the creative subject itself. In the creation of a literary style, it must have a spirit of innovation, and is often innovated in the time of maturity of another style and in the imitation of the old style. Again, the penetration of the philosophy of Zen has led to the development of the idea of "life". Philosophy is the soul of the times, reflecting the internal pulse of the thought dynamics of an era. All the major historical changes in each era will inevitably be displayed in the philosophical thought. Finally, the impact of the commodity economy, the aesthetic consciousness of the late Ming Dynasty, the root of its social origin is the germination of capitalist commodity economy. The vigorous development of this trend of thought has been promoted.
The fourth part shows that "Sheng", as a unique aesthetic category of the late Ming and Qing, is not isolated and exists alone. It has countless ties with other aesthetic categories, but there are essential differences. This part mainly compares the "Sheng" and its close meaning, "awkward", "simple", and its opposite "ripe". It is more clear to grasp its aesthetic connotation. "Sheng" and "mature" are the two basic requirements of literary and artistic creation. "Maturing" is the basis of "life", "Sheng" is the sublimation of "ripe". "The same is also regarded as a symbol of high maturity of art. The difference is mainly in the" clumsy "," Park "against the form of carving, with the most simple, the most original creation to highlight the content of the works.
The conclusion shows that "Sheng" is not only an important aesthetic category in the late Ming Dynasty and the Qing Dynasty, but also shows that its aesthetic characteristics have great reference significance for today's literary creation and development. First of all, from the literary and artistic creation, the first element is to practice the basic skills of "bitter practice", which is the foundation and source of artistic achievement. As Zheng Banqiao said, "painting bamboo branches in forty years, writing night thinking in the daytime, leaving thin and thin, drawing to life when it is ripe". Secondly, seeking "Sheng" to master the appropriate principles. The new trend of the times, neglecting the spiritual interest to grasp the grasp, neglecting to enrich its connotation from the education, then the final result can only be the lack of true Kung Fu, true feelings and become the past.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：B83-09

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