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[1]彭砺志.孔子艺术哲学的悖论及和解[J].长安大学学报(社科版),2017,19(01):81-91.
 PENG Li-zhi.Paradox and reconciliation of Confucius’s philosophy of art[J].Journal of Chang'an University(Social Science Edition),2017,19(01):81-91.
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《长安大学学报(社科版)》[ISSN:1671-6248/CN:61-1391/C]

卷:
第19卷
期数:
2017年01期
页码:
81-91
栏目:
文学艺术
出版日期:
2017-01-15

文章信息/Info

Title:
Paradox and reconciliation of Confucius’s philosophy of art
文章编号:
1671-6248(2017)01-0081-11
作者:
彭砺志
长安大学文学艺术与传播学院,陕西西安,710064
Author(s):
PENG Li-zhi
School of Literature, Art and Communication, Chang’an University, Xi’an 710064, Shaanxi, China
关键词:
孔子艺术哲学“小道”“大道”“小艺”“大艺”兼通观
Keywords:
Confucius philosophy of art “small Tao” “large Tao” “small skill” “large skill” view of Jiantong
分类号:
B222.2
DOI:
-
文献标志码:
A
摘要:
为研究孔子艺术哲学,通过对相关文献的梳理与考证,明确了孔子时代艺术形态的构成,对“必有可观”与“君子不为”之间的二律悖论分别进行了剖析。研究认为,孔子所论之艺,虽有大与小、一与多、本与末的区别,但从其“一以贯之”的兼通观立场看,艺之大小,全因执艺者能否通会天地人道而后定,道之大小的最后区分是守技而兼通,故“小艺”也能通“大道”;“小道”是古代艺术的同义词,其包括了古代艺术的不同门类,但孔子所观之道,不仅包括艺术,自然万物也被他纳入观德的对象,他强调道艺相辅,其“小道可观”被赋予了“游”的审美精神和“通”的人生境界,这就是孔子“必有可观”生存美学的精义所在;所谓“君子不为”,实则君子不专为、不一为、不偏为而已,其与道艺的大小本末和功用直接相关,其背后体现着治道者与为艺者的身份等级差别,艺之“不为”与“有为”的区别仅在于是偏工还是兼善;孔子将原本含有技术成分的“艺”提升到全新“道”的哲学层次,推衍为具有形而上色彩和普世价值的艺术理论,最终将这一表层矛盾的对立从义理和应用两方面加以会通和解。
Abstract:
In order to study Confucius’s philosophy of art, this paper clarified the formation of Confucius’s art form by reviewing relevant literature and analyzed the paradox between “there must be merits in small skills” and “gentlemen do not engage in small skills”. The results show that there is difference between the large and the small, the one and the many, the beginning and the ending in Confucius’s art philosophy. However, from the standpoint of “one principle runs through it all”, the size of art is dependent on whether the technician can thoroughly understand heaven, earth and humanity; the difference between the large and the small of Tao is whether one can stick to one skill and master all, which means even “small skill” can make one achieve the ultimate realm of the art. “Small skill” is synonymous with ancient art, which includes the different categories of ancient art, but Confucius thinks that Tao includes not only art but also all the things in nature. He emphasizes Tao and art are complementary with each other, and his view “there must be merits in small skills” is endowed with the aesthetic spirit of “You” and the life realm of “Tong”, which is the essence of Confucius’s aesthetics of existence. The so called “gentlemen do not engage in these small skills” actually refers to that the gentleman is not limited to one skill. And it is directly related to “the large, the small, the beginning and the end” of Tao and art as well as its function and reflects the difference between governor and technician in their status hierarchy. The difference between desirable and undesirable art lies in the tendency to be simple or perfect. Confucius upgrades “art” which originally contain the technical components to a new philosophical level of “Tao”, and promotes it to be an art theory with the metaphysical color and universal value, making this paradox in surface integrated from argumentation and application.

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备注/Memo

备注/Memo:
彭砺志(1965-),男,陕西乾县人,教授,历史学博士。 教育部人文社会科学基金项目(13XJA880003);中央高校基本科研业务费专项资金资助项目(0009-2014G6335045)
更新日期/Last Update: 2017-03-07