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作 者:谭玉龙[1] TAN Yu-long(College of Liberal Arts,Sichuan Normal University,Chengdu,Sichuan 610066,China)
机构地区:[1]四川师范大学文学院
出 处:《四川师范大学学报(社会科学版)》2019年第5期136-142,共7页Journal of Sichuan Normal University(Social Sciences Edition)
基 金:国家社科基金青年项目“20世纪以来出土简帛文献美学思想研究”(18CZX065);中国博士后科学基金第63批面上资助项目“近年出土儒家简帛文献中的美学思想研究”(2018M631097)的阶段性成果
摘 要:“中”历来被认为是儒家美学的重要观念和范畴之一,以此为基础形成的“中庸”“中和”“中正”等概念,彰显着儒家美学崇尚中正平和、不偏不倚、温柔敦厚的“贵中”精神。随着战国竹简文献的发现与问世,“中”观念的来龙去脉、价值影响得以更加明确与清晰,即尚“中”、贵“中”是中华民族具有的一种观念,在“前”儒家时期就已出现,儒家美学是对这种观念的传承、发展与拓展。它以甲骨文、金文之“中”为源头活水,至迟在春秋中期形成了技艺、情感合于“中”的观念。春秋末期,孔子将“中”吸收进他的思想中,开始成为儒家美学的重要内容。战国时期,《中庸》进一步深化和拓展了“中”,提出了人的举手投足、思想情感须符合“中庸”“中和”的标准,这样才能进入集真善美为一体的“天人合一”境界。这种以甲骨文、金文之“中”为源头活水,经春秋时期的发展,最后积淀于儒家美学中的“贵中”精神,对后世儒家美学乃至整个中国美学产生了巨大影响。“Zhong”(being impartial)has always been regarded as one of the important concepts and categories of Confucian aesthetics,and concepts of mean,moderate and“middle-positive”formed on this basis show that Confucian aesthetics advocates the spirit of being neutral,impartial and gentle.The unearthed bamboo slips of the Warring States help to clarify the origin value and influence of the concept of“Zhong”.They prove that as a virtue of the Chinese nation,being moderate appeared in as early as the pre-Qin period,while Confucian aesthetics is its inheritance,development and expansion.It originates from“Zhong”character in Oracle and inscriptions on ancient bronze objects,and in the middle of the Spring and Autumn Period,“Zhong”begins to influence skills and emotion.At the end of the Spring and Autumn Period,Confucius absorbed“Zhong”into his thoughts and it becomes an important part of Confucian aesthetics.During the Warring States period,the Doctrine of Mean further deepened and expanded“Zhong”,using it to regulate one’s behavior and thoughts so as to realize the harmony between human and nature.The worship of“Zhong”greatly influences the Confucian aesthetics of later generation and Chinese aesthetics as a whole.
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