试释“庄老告退,而山水方滋”——以阐述儒学影响为主线  

An Interpretation of “Landscape Getting Nourished with the Fade of Laozi and Zhuangzi”: A Vision for the Influence of Confucianism

作　　者：严耀中 Yan Yaozhong

机构地区：[1]北京师范大学历史学院,北京100875

出　　处：《文史哲》2022年第3期75-84,166,共11页Literature,History,and Philosophy

摘　　要：山水诗及画在晋宋之交出现,是儒家天人合一观念影响的结果。人与自然的关系是人被物化而归于自然,还是人将自然“文化”,这既是儒、道两家意识上的一条分界线,也是山水自然能否融入人的精神世界之关键所在。人将自身的本性原情赋予自然,山水也就有了人格与人性,从而在文学艺术里作为人的生命力的一种活泼能动的体现。如此构成的山水诗画涌现背景,是在魏晋六朝的玄谈中逐步形成的。在玄谈的思想交锋论辩过程中,山水被纳入以人为本的天地中,变得有声有色而活力四射,亦即所谓“山水方滋”。The landscape poem and painting emerged during the turn of Jin and Song in the Wei,Jin and the Southern and Northern dynasties,which is the result of the Confucian idea of harmony between heaven and human.Whether the relation between human and nature is human being the object and returns to nature,or human humanized nature? That is not only the dividing line between Confucianism and Daoism,but also the crux of the question that whether nature could integrate into the spiritual world of human.Man endows nature with his own nature and disposition,so nature owns the human character and nature,and expressed as a kind of representation of vitality in literature and art.Such context for the emergence of landscape poem and painting was gradually formed out of the idle talk during the Wei,Jin,and Six dynasties.In that process,landscape was brought into the human-centcrcd world,and thus became vivid and dynamic.

关 键 词：山水 性情 自然 文化 物化 

分 类 号：I207.22[文学—中国文学]