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文与质是中国古典美学的一对基础范畴。文质对举始于儒家又不限于儒家。除孔子最早提出“文质彬彬”这一经典性命题即儒家的文质论外,还存在以老子和墨子为代表的非儒家文质论,与儒家相抗衡。质是实体,文是附丽其上的文饰。儒、道、墨对同一实体却各有侧重,儒家强调社会伦理本体,主张质实与文饰高度统一;道家高扬了宇宙自然本体,力主质素而摈弃文饰;墨家执着于现实功利本体,坚决以质用否定文饰。在文质的内涵界定和关系把握上,儒、道、墨三家最集中和鲜明地体现了其美学思想的本质特征。三家文质观有冲突又有和谐。道家以质反文,但真正否定的是人工雕饰之美,它从另一方面提倡质朴自然的“大美”。墨家则彻底反美。这样,表面上道、墨一起与儒家相对立,而实质上,却是儒家居间中和,以伦理调停了审美与功利的内在矛盾。这样,在先秦形成文质这对具有高度文化浓缩性的范畴结构。
Text and quality are a pair of basic categories of Chinese classical aesthetics. The pairing of Confucianism with Confucianism is not limited to Confucianism. In addition to the classic proposition of “gentle mannerism”, Confucianism, that Confucius first proposed, there exists a non-Confucianism theory represented by Lao Tzu and Mozi, which confronts Confucianism. Quality is the entity, the text is attached to the text of the decoration. Confucianism, Taoism and Mohism have different emphases on the same entity. Confucianism emphasizes the social ethics and advocates a high degree of unity between the real and the textual. The Taoist advocated the natural ontology of the universe, Quality negative with the decoration. In defining the connotation of the quality and grasping the relationship, Confucianism, Taoism and Mohism embody the essential characteristics of their aesthetic thoughts most clearly and clearly. The three concepts of quality conflict and harmony. Taoism is antiquarian, but the real negation is the beauty of artificial carving. On the other hand, it advocates the “grand beauty” of simplicity and nature. Mohism is completely anti-American. In this way, on the surface, ink and Confucianism together, but in essence, but Confucianism and intermediation, with ethics to mediate the inherent contradiction between aesthetic and utilitarian. In this way, the formation of a culture in the pre-Qin period was a category structure with a high degree of cultural enrichment.