六朝美學與玄學的關聯

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题名:	六朝美學與玄學的關聯 The Relationship between the Aesthetics and Philosophy of the Six Dynasties Period
作者:	杜方立
贡献者:	中國文學研究所
关键词:	六朝美學玄學 aesthetics philosophy the Six Dynasties Period
日期:	2006
上传时间:	2014-06-20 10:09:49 (UTC+8)
摘要:	六朝為一美學思想空前開展的年代，審美的價值得到士人體認，不再從屬於道德的領域之下，而有了其獨立的價值。而此種美學上的發展，與魏晉思想的玄學發展有著密切的關聯。本文便是就六朝美學的發展與玄學思想間的關聯，加以論述及探討。本論文分六部份。第一章＜緒論＞，旨在界定「六朝」的定義，說明研究動機，研究方法，研究綱要及範圍。第二章＜玄學的起因、發展及美學之定義＞，先述「玄學」名稱的由來，玄學產生的思想及時代背景，以及分正始玄學，竹林玄學，向秀、郭象的《莊子注》及東晉後道佛思想交融四階段來述明玄學的發展歷程，及各階段的思想特色所在。另略敘美學於中西思想發展中意義上的流變。第三章＜玄學與人格美學＞，第一節論述劉劭《人物志》從氣性、才性的角度開展了人的自覺及人格美學；第二節論述阮籍、嵇康從《莊子》精神自由的角度開展了人格精神美學；第三節論述《世說新語》綜合了《人物志》及阮籍、嵇康的才性、精神思想，而成為一精神才性的人格美學；第四節論述人格美學於書畫藝術及美學思想中的表現。第四章＜玄學與自然美學＞，第一節論述於山水自然中品味玄意的美學觀，由阮籍、嵇康的思想開始，至宗炳、王微的畫論，均為同一脈絡的發展；第二節論述陶淵明「欲辨已忘言」的田園自然美學；第三節論述著重山水景貌之美的審美觀。第五章＜玄學與文藝美學＞，第一節論述曹丕的文氣論，以此為中國文藝美學的開端；第二節論述陸機的文學理論，其與《莊子》思想的關聯；第三節論述劉勰的文學美學觀，其文學起源論、創作論及重視自然美的審美觀；第四節論述鍾嶸的文學美學思想。第六章＜結論＞，總結玄學對美學所產生的直接及間接的作用，其產生關聯之處，及概括受玄學影響的六朝美學的特色與意義。 The Six Dynasties Period is an era of the blossoming of the aesthetics, its value being widely recognized, no longer subjecting to the field of morality; the above development has close relationship with the development of the Wei-Jing Philosophy, which is the main theme of this thesis, dividing into the following six chapters: Chapter One：The Preface, setting down the definition of the Six Dynasties Period, expounding the research motive, approach, outline and range. Chapter Two：The Causes and Development of the Syuan-Syue and the Definition of the Aesthetics, discussing the origin of the term of Syuan-Syue, its thought and historical background, its four stages of development with theirs seprate characteristics, also briefly recounting the development the Aesthetics in Chinese and Western Cultures. Chapter Three：Syuan-Syue and the Aesthetics of the Peronality, the section one discussing Liou-Shao’s “Ren Wu Jhih” from the angle of Ci and personal talents; the section two discussing Ruan-ji and Ji-Kang from the angle of the spiritual freedom originating from “Jhuang Ji”; the section three discussing “Shih Shuo Sin Yu” as incorporating the aesthetic concepts of the above two; the section four discussing the personality Aesthetics as seen in the painting and Caligraphy arts. Chapter Four：Syuan-Syue and the Aesthetics of the Nature, the section one discussing the contemplation of Dao in the Nature; section two discussing Tao-Yuan-Ming’s pastoral Aesthetics; the section three discussing the Aesthetics of the natural scenery.　 Chapter Five：Syuan-Syue and the Aesthetics of the Literature, the section one discussing Chao-Pi’s literature theory; the section two discussing Ru-Ji’s literature theory; the section three discussing Liou-Sie’s literature theory; the section four discussing Jhong-Rong’s literature theory. Chapter Six: The Conclusion, summarizing the direct and indirect influence of Syuan-Syue upon the Aesthetics of the Six Dynasties Period, and its characteristics thus resulted.
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