本文選題：莊子 + 美感�。� 參考：《沈陽師范大學(xué)》2016年碩士論文

【摘要】：莊子關(guān)于美感的理論,建立在他的“自然之道”的哲學(xué)思想之上�！暗婪ㄗ匀弧笔撬膶徝览碚摰幕A(chǔ)。莊子雖然傳承于道家老子,但與老子不同的是,老子重在闡述什么是“道”,而他更側(cè)重于描述如何體“道”。因此,他關(guān)于審美的本質(zhì)、獲得、創(chuàng)造都圍繞著這個展開,而當(dāng)時全面異化的社會存在催生了莊子對淡然自然之情的追求。莊子對美的體驗和認識,還與他崇尚自然、淡泊曠達的個人情性有著密切關(guān)系。他對審美感受的看法是獨特的,他把“至樂”看成是人的最大快樂,而這種快樂的本質(zhì)則是自然之情,而非平常人所謂的對獲得富貴、榮華、高位、高壽等的快樂,在他看來,真正的美的享受就是“適”,一種“忘適之適”。人只有達到“適”、“自適其適”進而能感受“忘適之適”,享受“躊躇滿志”。審美時的思維狀態(tài)是“游”,從“逍遙游”的自由境界達到“以神遇”的審美境界,這才能體會到“道”。要達到這種境界,莊子認為,通過“心齋”“坐忘”的方式,超越一切物質(zhì)束縛,排除功利,進行體道,“達生”。更難能可貴的是,莊子對“道”的審美感受落實到社會實踐層面。他認為,“體道”的技術(shù)創(chuàng)造活動是美感的產(chǎn)生根源,在創(chuàng)造活動中,創(chuàng)造者得能擺脫外物的牽累,“木”、“忘”,專心致志、聚精會神地進行美的創(chuàng)造,最后“順物之性”“游刃有余”,由“技”而“藝”,進而獲得極大的自由,獲得最大的快樂。所以,莊子反對名利心、“機巧心”和“刻意尚行”等一切功利行為。在莊子看來,這不僅不是真正的快樂,而且是“大苦”。由此可見,莊子對美感的認識,不僅在世風(fēng)日下、以力相爭、追名逐利的當(dāng)時具有歷史意義,對浮躁、趨利的當(dāng)下社會仍然有現(xiàn)實意義。人生存的壓力越來越大,對物質(zhì)與欲望的追求充斥日常生活,使得當(dāng)今社會上過度追名逐利、貪圖享樂。對于物質(zhì)欲望極度膨脹,精神內(nèi)涵極度空虛的現(xiàn)代人來說,如何去除內(nèi)心的浮躁、拋下功利之心、抵御外界的誘惑、回歸人本真,莊子的美感理論具有提警作用。
[Abstract]:Zhuangzi's theory of aesthetic sense is based on his philosophical thought of the Tao of Nature. "Taoism and Nature" is the basis of his aesthetic theory. Although Zhuangzi is inherited from Taoist Laozi, what is different from Laozi is that Laozi focuses on what is Tao, and he focuses on how to describe Tao. Therefore, his aesthetic essence, acquisition, creation all around this, and the overall alienation of social existence gave birth to Zhuangzi's pursuit of indifferent nature. Zhuangzi's experience and understanding of beauty are closely related to his personal nature of advocating nature and being indifferent. His view of aesthetic feelings is unique, and he regards "happiness" as the greatest happiness of human beings, and the essence of this happiness is natural, rather than ordinary people's so-called happiness of getting rich, Rong Hua, high, longevity, etc. In his view, The true enjoyment of beauty is "fit", a kind of "forget about fit". People can only achieve "fit", "fit their own" and then feel "forget the fit" and enjoy "complacency". The state of thinking in aesthetic appreciation is "swim", from the free state of "free travel" to the aesthetic state of "meeting with God", this can realize "Tao". In order to achieve this state, Chuang Tzu believes that through the way of "Xin Zhai" and "sitting and forgetting", he transcends all material restraints, removes utilitarian, carries out physical and moral principles, and reaches to life. What is more, Zhuangzi's aesthetic feeling of Tao is put into practice. In his opinion, the technological creation activities of "body and Tao" are the root of the aesthetic feeling. In the creative activities, the creators can get rid of the distractions of foreign objects, "wood", "forget", concentrate on, and concentrate on, the creation of beauty. In the end, "the nature of obeying things" and "art", from "technique" to "art", and then obtain great freedom and obtain the greatest happiness. Therefore, Zhuangzi opposed all utilitarian behaviors such as fame and fortune, dexterity and deliberate neatness. In Chuang Tzu's view, this is not only not true happiness, but also a "great suffering." It can be seen from this that Zhuangzi's understanding of aesthetic sense is not only of historical significance in the struggle for fame and fortune in the world, but also of practical significance to the current society of impetuous and profit-seeking. The pressure of human existence is increasing, and the pursuit of material and desire is full of daily life. For the modern people whose material desire is extremely inflated and spiritual connotation is extremely empty, how to get rid of inner impetuosity, cast off utilitarian heart, resist the temptation of the outside world, return to the truth, Zhuang Zi's theory of aesthetic sense has the function of raising alarm.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：B83-0

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