论“三玄”与玄学本体论的深层结构  

On “Three Mysteries” and the Profound Structure of Metaphysical Ontology

作　　者：苏保华[1] 

机构地区：[1]扬州大学文学院,江苏扬州225002

出　　处：《扬州大学学报（人文社会科学版）》2013年第3期93-99,共7页Journal of Yangzhou University(Humanities and Social Sciences Edition)

基　　金：国家社科基金项目(11BZW014)

摘　　要："三玄"不仅是魏晋玄学哲学及美学的思想武库,也是其本体论内涵生成的土壤。玄学家们通过对《周易》《老子》《庄子》的重新阐释,渐次建构起"有无体用""虚静逍遥""得意忘象"三位一体的玄学本体论。在哲学本体论层面,"有无之辨"终结了此前的宇宙生成论;在人格本体论层面,"名教与自然"之争扬弃了宗法社会的伦理人格;在艺术本体论层面,"言象意"之辩突破了既往的礼乐中和观。可以说,认识本体、伦理本体及艺术本体共同组成了玄学本体论的深层结构,也标志着玄学发展由形而上思辨转向生命实践并最终聚焦于艺术创造的三个维度,进而成为魏晋玄学之所以能够由哲学过渡到美学重要原因。＂Three mysteries＂ is not only the ideological arsenal of Wei and Jin metaphysics, philosophy and aesthetics but also the soil of the connotations of its ontology. From He Yan and Wang Bi to Pei Wei metaphysics gradually built up the trinity of metaphysical ontology of ＂Existence or Nonexist- ence,＂ ＂Void, Quietness and Peripateticism,＂ and ＂grasping the ideas and forgetting the emblems＂ through the reinterpretation of Zhouyi, Laozi and Zhuangzi. At the level of philosophical ontology, the debate of ＂Existence or Nonexistence＂ ended the Theory of Cosmogony~ at the level of human on- tology the debate between feudal ethics and nature renounced the ethical personality of patriarchal sys- tem; at the level of artistic ontology, the debate of word-image-meaning broke through the previous understandings of ＂neutralization of rites and music＂. Therefore, the epistemologieal ontology, ethic ontology and artistic ontology together comprised the deep structure of metaphysical ontology. It also marked the three dimensions of metaphysics shifting from its metaphysical reflection to life practice and ultimately focusing on artistic creation, leading to the transition of Wei and Jin metaphysics from philosophy to aesthetics.

关 键 词：三玄 有无 虚静逍遥 立象尽意 本体 

分 类 号：I206[文学—中国文学]