| 格物与涵泳--论朱熹思想对中国美学的意义 |
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| 引用本文： | 刘旭光.格物与涵泳--论朱熹思想对中国美学的意义[J].兰州大学学报(社会科学版),2002,30(3):80-85. |
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| 作者姓名： | 刘旭光 |
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| 作者单位： | 复旦大学,中文系,上海,200433 |
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| 摘 要： | 中国美学之气脉可以分为两个阶段,一是从先秦到康末司空图的道体论阶段,二是宋以后的体道论阶段,朱熹恰恰处在这两个阶段的结合点上。他的“格物”范畴为道体论向体道论的转变奠定了基础,为从形而下的“物”中把握形而上的“道”开辟了一条道路,从而使得“物”成为中国美学关注的核心之一。他的“涵泳”范畴奠定了宋以后审美认识论的基本内涵,把道体论落到了实处,深刻地揭示了艺术创造与艺术欣赏的生命性。
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| 关 键 词： | 道 物 格物 涵泳 体道感性学 |
| 文章编号： | 1000-2804(2002)03-0080-06 |
| 修稿时间： | 2001年4月25日 |
The Meaning of ZHU Xi's Thought to Chinese Aesthetics |
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| LIU Xu-guang.The Meaning of ZHU Xi''''s Thought to Chinese Aesthetics[J].Journal of Lanzhor University(Social Sciences),2002,30(3):80-85. |
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| Authors: | LIU Xu-guang |
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| Abstract: | Abstract: The Chinese aesthetic vein can be divided into two sections: the theory of daotifrom the pre-Qin to SIKOGN Tu of the end of Tang Dynasty, and the theory of tidao sincethe Song Dynasty, between which ZHU Xi is found. His category of gewu laid thefoundation for the transition and made the "Thing" one of the focal points of the Chineseaesthetics. His category of hanyong also laid the foundation for the basic connotation ofaesthetic epistemology and deeply revealed the life force of artistic creation and appreciation. |
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| Keywords: | Key words: Tao Thing study the phenomenon of nature hanyong perception of Tao |
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