本文關(guān)鍵詞：“文為心學(xué)”—劉熙載心學(xué)本體論文藝思想研究　出處：《蘇州大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 劉熙載 心學(xué) 創(chuàng)作主體 文藝 本色

【摘要】：劉熙載是晚清時代一位著名的學(xué)者、文藝理論家和教育家。他的著作涉及多個領(lǐng)域，其中最為重要的是他在《藝概》和《游藝約言》等著作中闡述的文藝美學(xué)思想。學(xué)界對其研究已有多方面的成果，但對劉熙載的文藝美學(xué)思想研究還不夠全面。 本文即以劉熙載的諸多著述為研究對象，擬從“文為心學(xué)”出發(fā)，對劉熙載的心學(xué)本體論文藝思想進行論述。本文共分為導(dǎo)言、正文和結(jié)語三部分。正文分為四個章節(jié)。 導(dǎo)言：概括地介紹劉熙載其人其書，他的文藝思想和哲學(xué)、美學(xué)之間的關(guān)系，概述劉熙載文藝思想研究現(xiàn)狀和本文的研究方法、基本內(nèi)容及意義。 第一章：論述劉熙載的“文為心學(xué)”觀，探討“文為心學(xué)”與儒道佛思想的關(guān)系。 第二章：從本體論的角度出發(fā)，著重從“崇道”、“尚正”、“尚真”三個層面分別論述“心”與“藝”的關(guān)系。 第三章：從藝術(shù)風(fēng)格論的角度出發(fā)，強調(diào)“持志”對風(fēng)格形成的重要性，肯定藝術(shù)作品“美在本色”的特質(zhì)，追求“清而厚”的自然理想。 第四章：從創(chuàng)作論角度出發(fā)，，著重從“養(yǎng)氣”、“煉識”兩方面強調(diào)創(chuàng)作主體的自身修養(yǎng)和能力對藝術(shù)創(chuàng)作的重要性，再從“自成一家”命題出發(fā)，強調(diào)創(chuàng)作主體的創(chuàng)新性。 總之，劉熙載的“文為心學(xué)”觀是對中國傳統(tǒng)文化的繼承與發(fā)展，不僅顯示出一種融“天、地、人”為一體的包容氣勢，更使創(chuàng)作主體與創(chuàng)作客體得到了完整的統(tǒng)一。 綜上，本文在前人研究成果的基礎(chǔ)上，用文藝學(xué)、美學(xué)的研究方法對劉熙載的心學(xué)本體論文藝思想進行研究，述論結(jié)合，力求盡可能客觀地評價研究對象。
[Abstract]:Liu Xizai is a famous scholar, literary theorist and educator in the late Qing Dynasty. Among them, the most important is his literary and artistic aesthetics thought elaborated in his works such as "the Art outline" and "the Book of Entertainment", and so on. The academic circles have made many achievements on the study of the literature and art aesthetics. However, the study of Liu Xizai's literary and artistic aesthetics is not comprehensive enough. This paper, taking Liu Xizai's many works as the research object, intends to discuss Liu Xizai's ontology of the mind from the perspective of "Wen as the mind". This article is divided into an introduction. The text is divided into four chapters. Introduction: this paper briefly introduces Liu Xizai's book, the relationship between his literary thought and philosophy, aesthetics, the present situation of Liu Xizai's literary and artistic thought, and the research methods, basic contents and significance of this paper. The first chapter discusses Liu Xizai's view of "Wen as mind" and discusses the relationship between "text for mind" and Confucianism, Taoism and Buddhism. The second chapter discusses the relationship between "heart" and "art" from three aspects: "Chong Dao", "Shang Zheng" and "Shang Zhen" from the perspective of ontology. Chapter three: from the point of view of artistic style theory, it emphasizes the importance of "keeping one's ambition" to the formation of style, affirms the nature of "beauty in nature", and pursues the natural ideal of "clear and thick". Chapter 4th: from the angle of creation theory, it emphasizes the importance of self-cultivation and ability of creative subject to artistic creation from two aspects of "nourishing qi" and "practicing knowledge", and then starts from the proposition of "building a family by oneself". Emphasis is placed on the creativity of the creative subject. In a word, Liu Xizai's view of "Wen as a mind" is the inheritance and development of Chinese traditional culture, which not only shows a kind of tolerance momentum of "heaven, earth, man" as a whole. Moreover, the creation subject and the creation object get the complete unity. In summary, based on the previous research results, this paper studies Liu Xizai's theory of mind ontology literature and art with the methods of literature and art and aesthetics, and combines theory with theory to evaluate the object of study as objectively as possible.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J0

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