CAJ | 학술논문

在以往的研究中,审美之维的童心说一般被看成是与老庄童心观一脉相承的.然而从文化之维来看童心说,则可发现它在老庄童心观的流变接受史上占有一个转折点的位置,即从这里开始,作为童心说标志的"真"的含义被延伸.尽管已有学人对童心说作过文化阐释研究,但常只就李贽思想而言童心说,很少将之置于老庄童心观的流变接受史上来观察,因而未能尽显文化阐释这一研究视角之于童心说研究的意义.
재이왕적연구중,심미지유적동심설일반피간성시여로장동심관일맥상승적.연이종문화지유래간동심설,칙가발현타재로장동심관적류변접수사상점유일개전절점적위치,즉종저리개시,작위동심설표지적"진"적함의피연신.진관이유학인대동심설작과문화천석연구,단상지취리지사상이언동심설,흔소장지치우로장동심관적류변접수사상래관찰,인이미능진현문화천석저일연구시각지우동심설연구적의의.
Aesthetic interpretation of Li Zhi's Theory of Childlike Heart is often considered as the inheritance of Taoism's Childlike Heart Theory. However,cultural interpretation of Li Zhi's Theory of Childlike Heart reveals that it is a turning point on the develop-ment of Taoism's Childlike Heart Theory,for the intension of naivety which is the nature of Childlike Heart Theory has been changed. Previous cultural interpretations of Li Zhi's Theory of Childlike Heart generally base on Li Zhi's thoughts not on the development of Taoism's Childlike Heart Theory,which cannot completely unfold the significance of cultural interpretation for the Childlike Heart Theory.