“发乎情,止乎情”--从“陆王心学”到明清之际的“启蒙美学”  

"Emotion as Origin and Terminal"--From"the School of Lu Jiuyuan and Wang Yangming"to the"Enlightenment Aesthetics"during the Turn between the Ming and Qing Dynasties

作　　者：潘知常[1] PAN Zhi-chang(School of Journalism and Communication,Nanjing University,Nanjing 210023,China)

机构地区：[1]南京大学新闻传播学院,南京210023

出　　处：《江苏行政学院学报》2020年第2期26-37,共12页The Journal of Jiangsu Administration Institute

摘　　要：从儒家的“发乎情,止乎礼”与道家的“发乎情,止乎游”,历经了禅宗的“发乎情,止乎觉”,明清之际启蒙美学主旋律变为“发乎情,止乎情”。它代表着中国美学在与“西天”佛教文化对话后的成熟,距离最终的突破,距离“五四”之际王国维、鲁迅的探索,乃至距离后来的从20世纪80年代崛起的奠基于“万物一体仁爱”新哲学观基础上的情本境界论生命美学的探索,都只有一步之遥。The idea evolved from the Confucian proposition of "Originating from emotion and terminating at propriety" and the Taoist one featuring "Originating from emotion and terminating at transcendence", via the Zen version of "Originating from emotion and terminating at revelation", until the main theme of Enlightenment aesthetics during the turn of Ming and Qing dynasties: "Originating from emotion, and terminating at emotion". It represents the maturity of Chinese aesthetics after its dialogue with the "Indian" Buddhist culture, which is one step away from the ultimate breakthrough, the exploration of Wang Guowei and Lu Xun during the May 4 th Movement, and even the later emotion-oriented life-aesthetics based on the new philosophy of all-in-one benevolence rising from the 1980 s.

关 键 词：启蒙美学 “止乎情” 自由生命存在 自由精神世界 

分 类 号：B83-09[哲学宗教—美学]