“美善相乐”与文艺的价值追求  

“Unity of Beauty and Goodness” and the Value Pursuit of Literature

作　　者：邵志华[1] 

机构地区：[1]南通大学文学院,江苏南通226019

出　　处：《南通大学学报（社会科学版）》2016年第4期71-76,共6页Journal of Nantong University:Social Sciences Edition

基　　金：国家社科基金项目(13BZW017)

摘　　要：荀子在《乐论》中所提出的"美善相乐"美学观点,是中国传统美学的主要特征之一。此种美善相兼的观念在西方思想传统中亦渊源久远,直至康德确立了艺术的审美自主原则才有重新定位。"美善相乐"的实践互动具体体现为"以美储善、善中孕美",社会管治者借助文艺的情感感染性,潜移默化地实施仁政教化之主题,同时经由圣贤形象的树立,作为人们言行与人格之参照。"以美储善、善中孕美"表现在文艺实践中,就是力求思想性和艺术性的高度结合。在这方面,文艺实践一度存在两种认识误区:一是将艺术单纯理解为纯美的,而排除善的道德教化功能;二是把美与善的关系看成对立的双方,将审美功能与教育功能相互割裂。这两种观点都没有看到美与善的矛盾联系与相依相生性,在思想方法上具形而上的片面性。文艺作为一种审美意识形态,其本质特征是以形象反映生活,营构审美境界,其核心则是崇善,实现道德教化。因此,"美善相乐"就构成了文艺的内在品格与价值追求。具体而言,美是文艺作品的形式创造,而善则是文艺作品的人文关怀。The aesthetic opinion of ＂unity of beauty and goodness＂ proposed by Xun Zi in Music Theory is one of the major features of traditional Chinese aesthetics. The concept of ＂unity of beauty and goodness＂ has also been accepted by traditional western ideology and was not reoriented until Kant established the principle of aesthetic autonomy. Practical interactivity of ＂unity of beauty and goodness＂ is represented as follows. Governors of the society implemented benevolent enlightenment by the emotional influence of literature, and made it the reference for people ＇s utterance and personality through the establishment of images of saints. ＂Reserving goodness by beauty＂ pursues the high unity of ideology and arts. However, there are two misunderstanding in this field, namely, art for art＇s sake and the complete distinction between beauty and goodness. We should realize that ＂unity of beauty and goodness＂ is the inner feature and value pursuit of literature.

关 键 词：“美善相乐” 文艺作品 以美储善 善中孕美 

分 类 号：B222.6[哲学宗教—中国哲学]