从《长物志》看传统文化在物化审美上的秩序性建构  

The Order Construction of Materialized Aesthetics in Traditional Culture Based on Treatise on Superfluous Things

作　　者：王冠[1] 孔庆茂[1] WANG Guan;KONG Qing-mao(School of Humanities,Nanjing University of the Arts,Nanjing,Jiangsu 210013)

机构地区：[1]南京艺术学院人文学院,江苏南京210013

出　　处：《艺术百家》2020年第5期61-65,共5页Hundred Schools In Arts

摘　　要：晚明社会,物的地位日益凸显使中国传统文化中物与心的关系、士农工商的阶层秩序、审美标准及文化秩序都变得混乱无序,文震亨以中国儒道文化里的尚古传统、自然原则以及对器物之美的本质追求为理论依据,在当时物化审美语境中,凭借传统文化资源区分雅俗、厘定正统,尝试为当时社会提供一套器物与人之间正确审美范式的规则与方案,并在时代精神的影响下,创建新的物化审美追求与士人生活形态,以激活固有的文化价值的方式,建构新的物化审美秩序,对当下在商业文化冲击下重建有中国特色的物化审美秩序提供了借鉴和参考。In the late Ming Dynasty,the increasingly prominent role of material resulted in that the relationship between material and spirit in traditional Chinese culture,the hierarchical order of scholars,farmers,artisans and merchants,aesthetic standards and the cultural order all became chaotic.With the advocacy of ancient tradition,natural principles and the intrinsic pursuit of beauty of articles in Confucianism and Taoism of China as a theoretical basis,Wen Zhenheng made an attempt to provide a set of rules and plans on a correct aesthetic paradigm between articles and people for the society by distinguishing elegance and vulgarity and determining legitimacy based on traditional cultural resources.Moreover,under the spiritual influence at that time,he also created new pursuit of materialized aesthetics and a new lifestyle of scholars,and built a new order of materialized aesthetics by activating intrinsic cultural value.These provide references for rebuilding the order of materialized aesthetics with Chinese characteristics under the impact of commercial culture now.

关 键 词：晚明 《长物志》 物化审美 秩序 传统文化 

分 类 号：J0[艺术—艺术理论]