王船山诗歌美学中的儒佛道三向度  

Confucian, Buddhist and Taoist dimensions in Wang Chuanshan’s aesthetics of poetry

作　　者：尚荣 SHANG Rong

机构地区：[1]南京大学艺术学院,江苏南京210093 [2]南京大学哲学学院,江苏南京210023

出　　处：《东南大学学报（哲学社会科学版）》2024年第6期16-24,147,共10页Journal of Southeast University(Philosophy and Social Science)

摘　　要：船山诗歌美学以其“唯气论”哲学思想为基础,其中包含了儒佛道三向度。儒家向度方面,船山继承了儒家传统的“兴观群怨”说,并将其发展为“诗道性情”论,这是船山诗歌美学体系中的审美基础。佛家向度方面,船山将“佛家现量”说引入诗学理论中,形成了独一无二的“诗学现量”说,这是船山诗歌美学体系中的审美直觉。道家向度方面,船山吸收了老子的“大音希声”说,并将其进一步概括为“无字处皆其意”,这是船山诗歌美学体系中的审美境界。船山诗歌美学是我国古典诗歌美学的高峰,其中的儒佛道三向度对于当代文艺的发展有着重要的启示。With its philosophical foundation of “qi (vital energy) - cheng(sincerity) -shiyou(substantial) existence,”Chuanshan’s aesthetics of poetry encompasses three dimensions of Confucianism, Buddhism and Taoism which constitute its aesthetic basis, intuition and realm. In the Confucian dimension, Chuanshan inherited the traditional Confucian idea of Xing Guan Qun Yuan which he further developed as the theory of Shi Dao Xing Qing. In the Buddhist dimension, Chuanshan incorporated the concept of Buddhist supramundane cognition into poetic theory, thereby forming the unique theory of poetic supramundane cognition. Regarding the Taoist dimension, Chuanshan drew from Laozi’s doctrine of “the great music is sought after in its absence of sound,” further generalizing it as “its meaning pervades every unspoken word.” Chuanshan’s poetry aesthetics represents the pinnacle of classical Chinese poetry. The three dimensions of Confucianism, Buddhism and Taoism have important enlightening implications for the development of contemporary literature and art.

关 键 词：王船山 诗歌美学 儒佛道 唯气论 诗道性情 诗学现量 

分 类 号：I207.22[文学—中国文学] B249.2[哲学宗教—中国哲学]