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对荀子美学的研究,自1999年以来有更深入的探讨,也有学者试图加以系统化地建构。然而少见从审美对象、审美主体、审美历程去分析、建构、描述荀子对美的认识及审美态度者。本文探讨荀子对美的认识,首先将苟子置于战国时代这个大环境下来看待他的美学论述,可知美感、审美在其思想体系中实非占中心位置,因此分析、探讨荀子美学论述的内容,便不存在像政治、社会制度及宇宙论、心性论那么完整的篇章。但是透过爬梳、勾稽,也差略可架构其美学论述。在本文中首先分析荀子如何体认及看待审美对象,再则探讨苟子对审美主体——人——的析述及定位,接着析述、建构其对于审美历程的论述。通过这三个方面的分析、考释,除了自美学的角度建构荀子论述中的美学理念之外,也自此三方面指出荀子美学理念中“摄美归善”的特质及其以“人”为本的审美观点,并说明此特质与孔、孟及道家美学的异同之处。
The study of Xunzi’s aesthetics has been discussed in more depth since 1999, and some scholars have tried to systematically construct it. However, it is rare to analyze, construct and describe Xunzi’s understanding of beauty and aesthetic attitude from the aesthetic object, aesthetic subject and aesthetic course. This article discusses Xunzi’s understanding of beauty. First, Xunzi treats his aesthetic discourse in the context of the Warring States Period. It can be seen that beauty and aesthetics do not occupy a central position in his ideological system, so analyzing and discussing the content of Xunzi’s aesthetic discourse, There is no such chapter as politics, social system, cosmology and psychology. However, through the combing, ridiculous, but also slightly can structure its aesthetics. In this paper, we first analyze how Xunzi recognized and treated aesthetic objects, and then discussed Xunzi’s analysis and positioning of the aesthetic subject - person. Then he described his construction of the aesthetic course. Through the analysis and examination of these three aspects, apart from the construction of aesthetics in Xunzi ’s discussion from the perspective of aesthetics, this article also points out the characteristics of Xunzi’ s idea of aesthetics and its “ People ”-based aesthetic point of view, and explain the similarities and differences between this trait and Kong, Meng and Taoist aesthetics.