论梁朝士人的出处观及其美学意蕴  

A Review of the Scholars of the Liang Dynasty's View of Dealing with the World and its Aesthetic Implication

作　　者：李昌舒[1] 

机构地区：[1]南京大学文学院,江苏南京210046

出　　处：《陕西师范大学学报（哲学社会科学版）》2014年第5期57-63,共7页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社会科学基金项目(10CZX053)

摘　　要：在梁武帝以文治国、优待士人的政策影响下,梁朝士人普遍遵循大隐的出处方式。一方面,作为大隐的承载之地,园林在实践和理论上均有重要发展,庙堂与山林的关系得到进一步统一;另一方面,较之于晋宋,梁朝文化的主体由士族转移到皇室,面对梁武帝重文为表、猜忌为实的治国思路,士人大多以柔弱、矫饰为立身之道,在此意义上,身体、心态与文化之弱是梁朝皇室以及一般士人的共同特征,士人之疲倦与皇室之矫饰构成梁朝文学的基本内容,思想内容上的贫乏与艺术技巧上的发达成为梁朝美学的两极。Under Emperor of Wu in the Liang Dynasty＇s policy of administrating the country by developing culture and giving preferential treatment to scholars,the scholars in the reign generally took the recluse＇s way of life. On the one hand,gardens as places of seclusion gained important development both practically and theoretically,and the relationship between the rulers and social sages was further unified. On the other,different from the Jin and Song Dynasties,the corpus of the Liang Dynasty＇s culture changed from scholars to imperial families. In face of Emperor of Wu＇s pretentious attention to developing culture but actual jealousy of scholars,most scholars appeared to be weak and pretentious in life. In this sense,physical,psychological and cultural weakness was characteristic of both imperial families and common scholars. As a result,literature in the dynasty primarily represented the tired scholar and pretentious imperial family,and lack of original ideals and flourishing in artistic skills formed the two poles of aesthetics in the Liang Dynasty.

关 键 词：梁朝士人 梁朝文学 出处观 美学意蕴 

分 类 号：K239.13[历史地理—历史学] B83-0[历史地理—中国史]