本文選題：馮友蘭 + 藝術觀��； 參考：《遼寧大學》2017年碩士論文

【摘要】：馮友蘭以哲學家著稱,在哲學上取得了很高的成就。在論述哲學時,馮友蘭多次談及藝術,并從哲學和藝術兩個角度進行了闡釋,形成了獨具特色的藝術觀。因此,本文借助馮友蘭的相關論著,通過對其作品的深入研究,來闡釋他的藝術觀。全文由五部分構成:在緒論中,概括指出論文創(chuàng)作的緣由和意義,介紹目前學術界對馮友蘭藝術觀研究的基本情況。第一章論述馮友蘭哲學思想對其藝術觀產生的影響。哲學上,馮友蘭融匯中西,建立了新理學。新理學的哲學體系深深影響著馮友蘭藝術觀的形成,這主要表現(xiàn)在三方面:其一,受哲學共相思想影響,藝術觀上強調藝術的共相;其二,重視藝術的功能,主張藝術要承擔提高人精神境界的使命;其三,要求藝術創(chuàng)作要進于道,把宇宙之道表顯出來。第二章闡釋馮友蘭對藝術作品的相關認識。受新理學確立的“理”思想的影響,馮友蘭提出了藝術作品的本然樣子,認為藝術之所以存在,是因為宇宙中已有藝術的本然樣子。藝術的本然樣子是藝術創(chuàng)作和批評的標準。藝術如果能把藝術的本然樣子展現(xiàn)出來,這樣的藝術就是進于道的藝術,反之,是止于技的藝術。第三章介紹馮友蘭對藝術現(xiàn)代化和民族性的理解。馮友蘭認為中西文化是兩種類型的文化。藝術現(xiàn)代化是西方藝術的“共相”,它要通過文化類型的轉變實現(xiàn)。藝術的民族性是文化的“殊相”,它使同一類型中的文化不致于雷同。藝術的現(xiàn)代化發(fā)展必須建立在民族性基礎之上。新文學應該致力于發(fā)展現(xiàn)代化的文學,而不是歐化的文學。第四章從藝術家、作品和讀者三個角度探討馮友蘭的藝術境界思想。人生境界理論是馮友蘭哲學思想的核心。馮友蘭根據(jù)藝術家在藝術創(chuàng)作活動中的覺解程度,亦將藝術家的境界分為自然境界、功利境界、道德境界和天地境界四個層次。天地境界是藝術家追求的最高境界,此境界中的藝術家可以使其作品達到天地境界,天地境界的作品,反過來又可以提升讀者的境界。
[Abstract]:Feng Youlan is famous as a philosopher and has made great achievements in philosophy. When discussing philosophy, Feng Youlan talked about art many times and explained it from two angles of philosophy and art, forming a unique view of art. Therefore, with the help of Feng Youlan's related works, through the in-depth study of his works, to explain his view of art. The paper is composed of five parts: in the introduction, the author points out the reason and significance of the thesis creation, and introduces the basic situation of the current academic research on Feng Youlan's view of art. The first chapter discusses the influence of Feng Youlan's philosophy on his view of art. In philosophy, Feng Youlan fused Chinese and Western, and established the new Neo-Confucianism. The philosophical system of Neo-Neo-Neo-Confucianism deeply influences the formation of Feng Youlan's view of art, which is mainly manifested in three aspects: first, influenced by the common thought of philosophy, which emphasizes the unity of art; secondly, it emphasizes the function of art. Art should undertake the mission of improving the spiritual realm of man; third, art creation should be advanced into the Tao and manifest the Tao of the universe. The second chapter explains Feng Youlan's understanding of art works. Influenced by the idea of "reason" established by Neo-Confucianism, Feng Youlan puts forward the original appearance of art works, and thinks that art exists because there is already art in the universe. The natural appearance of art is the standard of artistic creation and criticism. If art can show the art as it is, it is the art of the Tao, but the art of the technique. The third chapter introduces Feng Youlan's understanding of art modernization and nationality. Feng Youlan believes that Chinese and Western cultures are two types of culture. Art modernization is the "common phase" of western art, which must be realized through the transformation of cultural types. The nationality of art is the difference of culture, which makes the culture of the same type not the same. The modernization of art must be based on nationality. New literature should be devoted to the development of modern literature, not Europeanized literature. Chapter four discusses Feng Youlan's artistic realm from three angles: artist, work and reader. The theory of life realm is the core of Feng Youlan's philosophy. Feng Youlan divides the artist's realm into four levels: natural realm, utilitarian realm, moral realm and heaven and earth realm according to the understanding degree of artist in artistic creation. The realm of heaven and earth is the highest realm pursued by artists, and the artists in this realm can make their works reach the realm of heaven and earth, the works of the realm of heaven and earth, and in turn promote the realm of readers.
【學位授予單位】：遼寧大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J0

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