朱子文艺的萧散澹然之美  

Sparse But Graceful Aesthetics in Zhu Xi's Literature

作　　者：杨万里[1] 

机构地区：[1]南开大学文学院,天津300071

出　　处：《南通大学学报（社会科学版）》2014年第1期59-64,共6页Journal of Nantong University:Social Sciences Edition

摘　　要：朱子不仅是南宋理学思想集大成之人,且兼善诗文书画等各种文艺创作。历来研究朱子文艺美学思想者多关注其对劲健雄浑、自然平淡等方面的推崇,而对他追求萧散澹然之美的一面却绝少论及。朱子萧散澹然的美学旨趣渊源自魏晋时期的艺术精神,主要受到苏轼、朱松和张嵲等人的影响。在其诗歌和书法的创作与批评中,均体现出对萧散澹然之美的强烈追求之意,具体表现为对萧散意象、清新婉约之美、超尘脱俗之逸趣与主体人格风神的推崇。而需要指出的是,朱子对苏轼等人萧散澹然的美学内涵并不是一味承袭,而是对其进行了理学意义上的改造与提升。Zhu Xi not only epitomized Neo Confucianism thought in the Southern Song Dynasty, but was good at po-etry, calligraphy, painting and other artistic creation. Most of scholars studying Zhu Xi ’s literary aesthetics have paid more attention to the vigor, masculinity, naturalism, plainness, and so on, but haven ’t attached much importance to his pursuit of sparse but graceful aesthetics. Zhu Xi’s Xiao sparse but graceful aesthetics originated from the artistic spirit of Wei and Jin Dynasties, mainly influenced by Su Shi, Zhu song and Zhang Nie. In the creation and criticism of his poetry and calligraphy, he praised sparse but graceful aesthetics highly through adoration of sparse but graceful images, fresh and graceful beauty, free from vulgarity and personality spirit. But it should be pointed out that, there is a fundamental differ-ence in his thought from Su Shi’s theory in that Zhu Xi infuses Confucianism sparse but graceful aesthetics.

关 键 词：朱熹 萧散澹然 理学 诗论 书论 

分 类 号：B83-092[哲学宗教—美学]