“箫剑”与“鹏蝶”——龚自珍对庄子美学的接受实践  

“Flute and Sword”and“Roc and Butterfly”——The Acceptance and Practice of Zhuangzi’s Aesthetics by Gong Zizhen

作　　者：杨艳秋 刘东影[1] YANG Yan-qiu;LIU Dong-ying(Postdoctoral Research Station of Chinese Language and Literature,Heilongjiang University,Harbin 150080,China;College of Humanities and Social Sciences,Heilongjiang Bayi Agricultural University,Daqing 163319,China)

机构地区：[1]黑龙江大学中国语言文学博士后流动站,黑龙江哈尔滨150080 [2]黑龙江八一农垦大学人文社会科学学院,黑龙江大庆163319

出　　处：《烟台大学学报（哲学社会科学版）》2020年第6期41-48,共8页Journal of Yantai University(Philosophy and Social Science Edition)

基　　金：黑龙江省博士后基金面上资助项目“中国近代美学著述叙录”(LHB-Z19202);黑龙江八一农垦大学青年创新人才项目“近代启蒙思想下《庄子》美学阐释研究”(RRCQC201803)。

摘　　要：中国近代美学在生成之初亟需冲破理学传统和文化范式,以龚自珍为代表的启蒙思想家在向中国古典哲学溯源和求解的过程中,以主体性的自醒和个人志趣的自得为基础,从美学主张到诗文创作,全面吸收庄子思想。在诗文创作中,以丰富的自然意象、恣意的卮言手法传承并实践庄子美学,展现追求自由人生的内在境界。分析龚自珍诗文对庄子美学的传承与接受,是研究龚自珍启蒙思想的重要路径。At the beginning of its formation,the Chinese modern aesthetics urgently needed to break through the shackles of Neo-Confucianism traditions and cultural norms.Based on the self-awakening of subjectivity and the self-contentment of personal interest,the enlightenment thinkers of China,represented by Gong Zizhen,have entirely absorbed the thought of Zhuangzi from the aesthetics ideas to literary creations during the process of reviewing and exploring the history of Chinese classical philosophy.Gong Zizhen inherited and practiced Zhuangzi’s aesthetics in literary creations with rich natural images and unbridled randomness technique,which reflected the internal mental world of passion for freedom.

关 键 词：龚自珍 庄子美学 近代美学 诗文创作 

分 类 号：I209[文学—中国文学]