“比德”审美观念的嬗变  

A Study on Transmutation of Cohesive Moral Aesthetic Ideas

作　　者：陈莉[1] 

机构地区：[1]中国传媒大学艺术研究院,北京100024

出　　处：《南昌大学学报（人文社会科学版）》2013年第2期35-39,共5页Journal of Nanchang University(Humanities and Social Sciences)

基　　金：陕西省教育厅科学研究计划项目"西汉帝陵文化中的美学精神研究"(08JK182);中国博士后基金项目"汉代神秘文化语境中的文艺美学思想研究"(2011M500361)

摘　　要：将"物"的自然属性与人的伦理道德品质相比附的"比德"审美观念,在儒家思想中得到了最为集中的体现。周代对"德"的重视是"比德"审美观念形成的历史文化语境。象天法地的观照世界的模式、万物有灵观念和巫术交感意识是"比德"审美观念形成的哲学渊源。魏晋时期对礼教的反叛,艺术观念中对情感的关注,使"比德"审美观念受到一定的冲击。宋明时期,在"格物致知"理学观念的影响下,"比德"审美观念得到进一步发展,但"物"与伦理道德意义的牵强比附,"物"的象征意义和伦理蕴含的固定化、模式化,又成为"比德"审美观念被颠覆的重要契机。The cohesive moral aesthetic concept forms in the Zhou Dynasty.It makes Chinese art have a rich moral implication,which is built on the cultural context of morality and animism.The cohesive moral aesthetic ideas are represented very well in Confucianism.Then,the cohesive moral aesthetic concept is declining in the Song Dynasty because that the matter of symbolism and ethical implication become immobilized and modeling.Finally,the ideological liberation movement in the Ming Dynasty becomes an important factor to make the cohesive moral aesthetic ideas be subverted.

关 键 词：“比德” 儒家 审美观念 嬗变 

分 类 号：B82-054.9[哲学宗教—伦理学]