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作 者:杨吉华[1,2] Yang Jihua
机构地区:[1]云南师范大学云南华文学院,云南昆明650500 [2]云南师范大学国际中文教育学院,云南昆明650500
出 处:《中州学刊》2025年第3期110-118,共9页Academic Journal of Zhongzhou
摘 要:《论语》中的“孔颜之乐”,以安贫乐道的精神要义,将道德主体对于社会的人文关怀和道义担当,融于自我心性修养与道德实践的审美体验中,形成一种美善相融的圣贤气象,蕴含着内以修身、外以治世的道德审美价值取向。宋儒通过以“诚”贯通天道性命、会通孔孟“识仁”之法和“循理而乐”的成德之教等具体途径,将“孔颜之乐”的人文意蕴进一步扩展到仁乐相通的天地精神,从而将人的自我道德境界修养提升与修身治世的社会实践有机统一起来,最终实现道德本体与审美生成的圆融。由此,“孔颜之乐”以一种对自我与世界进行审美感应的精神把握方式,形成以个体精神超越和理想社会秩序构建为重点、充分凸显人生内在道德终极价值意义与天道相贯通为最高审美追求的理论系统,成为道德审美“中国性”的诗意诠释。“Confucius and Yan Hui’s Happiness”in The Analects of Confucius,with the spirit of being content with poverty and finding joy in one’s principles or beliefs,integrated the humanistic care and moral responsibility of moral subjects towards society into the aesthetic experience of self-cultivation and moral practice,forming the saintly demeanor of beauty and goodness blending together,which embodied the moral and aesthetic value orientation of cultivating oneself internally and governing the world externally.Confucian scholars in the Song Dynasty further extended the humanistic meaning of“Confucius and Yan Hui’s Happiness”to the spirit of heaven and earth that connected benevolence and art through specific operational approaches,such as using“sincerity”to connect the heavenly path and life,understanding the methods of Confucius and Mencius,“understanding benevolence”,and the teachings of“following the principles of morality and art”to achieve a harmonious integration of moral ontology and aesthetic generation,thus organically integrating the improvement of human self moral realm cultivation with social practice of self-cultivation and governance.As a result,through a spiritual communication method of aesthetic induction between oneself and the world,“Confucius and Yan Hui’sHappines”formed a theoretical system that focused on individual spiritual transcendence and the construction of an ideal social order,fully highlighting the highest aesthetic pursuit of the connection between the ultimate moral value of life and the Universe Way.It was a poetic interpretation of the“Chineseness”of moral aesthetics.
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