华中师范大学学报:人文社会科学版
華中師範大學學報:人文社會科學版
화중사범대학학보:인문사회과학판
Journal of Central China Normal University(Humanities and Social Sciences)
2007年
3期
117~122
,共null页
阴阳两仪 思想范式 美学意涵
陰暘兩儀 思想範式 美學意涵
음양량의 사상범식 미학의함
two modes of Yin and Yang;thinking forml aesthetic meaning
在东方文化和美学观念中,“阴阳两仪”是一个极其重要的理论范畴和文化命题。它所反映的不仅仅是一种东方式、中国式的宇宙观念和人生哲学,而且也反映了一种东方式、中国式的美学思想范式。其美学意涵主要有四:一是“耦两”美观念,即强调在相反相对的两种矛盾因素之间思考美、创造美;二是“中和”美意识,即讲究在两两相对的矛盾因素之间实现均衡持中、不偏不倚的和谐之美。其核心范畴是“中”。三是“刚柔”美理想,既讲究阳刚与阴柔这两种审美理想之间的相成相济,又有偏重阴柔之美的趋向。四是“虚实”美境界,在阴与虚、阳与实的对应中,既强调虚与实之间的互用相生,又讲究以虚为体、以实为用,从而推动“意境”美学理论走向成熟。
在東方文化和美學觀唸中,“陰暘兩儀”是一箇極其重要的理論範疇和文化命題。它所反映的不僅僅是一種東方式、中國式的宇宙觀唸和人生哲學,而且也反映瞭一種東方式、中國式的美學思想範式。其美學意涵主要有四:一是“耦兩”美觀唸,即彊調在相反相對的兩種矛盾因素之間思攷美、創造美;二是“中和”美意識,即講究在兩兩相對的矛盾因素之間實現均衡持中、不偏不倚的和諧之美。其覈心範疇是“中”。三是“剛柔”美理想,既講究暘剛與陰柔這兩種審美理想之間的相成相濟,又有偏重陰柔之美的趨嚮。四是“虛實”美境界,在陰與虛、暘與實的對應中,既彊調虛與實之間的互用相生,又講究以虛為體、以實為用,從而推動“意境”美學理論走嚮成熟。
재동방문화화미학관념중,“음양량의”시일개겁기중요적이론범주화문화명제。타소반영적불부부시일충동방식、중국식적우주관념화인생철학,이차야반영료일충동방식、중국식적미학사상범식。기미학의함주요유사:일시“우량”미관념,즉강조재상반상대적량충모순인소지간사고미、창조미;이시“중화”미의식,즉강구재량량상대적모순인소지간실현균형지중、불편불의적화해지미。기핵심범주시“중”。삼시“강유”미이상,기강구양강여음유저량충심미이상지간적상성상제,우유편중음유지미적추향。사시“허실”미경계,재음여허、양여실적대응중,기강조허여실지간적호용상생,우강구이허위체、이실위용,종이추동“의경”미학이론주향성숙。
This paper mainly explained the ideological model of "Two opposing principles named Yin and Yang" from the point of aesthetics. Its ideas mainly included four aspects as follows, the first is the concept of "symmetry beauty", which emphasizes on the beauty between the two contradictory elements. The second is "the two modes" beauty, which is to carry out balance between them. The third is "firm or mild" beauty, which is mingled with hardness and softness, but the emphasis is on softness. The forth is "fictitiousness or existence", which emphasize either mutual dependence between form and substance, so as to promote "artistic conception" aesthetic theory to the mature.