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宋代隐逸审美文化

更新时间 2009-9-5 12:02:25 点击数:

毕业论文标题】 宋代隐逸审美文化
【英文标题】
【中文摘要】 本文以宋代隐逸审美文化为研究对象,从美学和文化相结合的角度,全面而深入地探讨隐逸审美文化这一中国古代审美文化史上独特的文化形态,客观而细致地探寻宋代隐逸士人的生存状态和精神追求,力图对宋代隐逸审美文化形成兴盛的历史背景、基本特点作深入地阐释和分析,在对宋代隐逸审美文化做整体观照的同时,还选取了最能体现宋代隐逸审美精神的园林艺术来做个案分析,以图通过总体观照与具象呈现来展现宋代隐逸审美文化的文化品质。本文共分为四部分:第一部分“隐逸审美文化的界定”。“隐逸审美文化”是本文在综合考察目前学术史上对于隐逸、隐逸文化以及隐逸与中国传统审美文化关系的基础上提出来的一个全新概念。要对宋代这个特殊时期的隐逸审美文化展开讨论和分析,就必须先要明确什么是“隐逸审美文化”。本文通过对隐逸、隐士、隐逸文化以及审美文化概念的逐层深入地界定,力求实现隐逸与审美、隐逸文化与审美文化的对接,最终明确隐逸审美文化的内涵和外延。第二部分“宋代隐逸审美文化的历史背景”。宋代提倡“以文化成天下”,实行文官政治,隐士受到统治者的空前礼遇,由是宋代隐风炽烈,隐士规模和范围空前扩大,这些具有极高文化素养的隐士们自觉投身艺术创造中,就有了宋代隐逸审美文化的勃兴。在“三教融合”的大背景下,仕与隐走向和谐统一,隐逸由“隐”的初级境界上升到“逸”的高级境界,由此带来的是宋代隐逸审美文化的转型。由于宋代隐士不拘泥于隐逸的具体形式,看重的是于内心深处的精神隐逸,宋代隐逸审美文化也随之提升到不拘法度、超凡脱俗的“超逸”的最高审美境界上来。第三部分“宋代隐逸审美文化的基本特点”。宋代隐士的精神隐逸是以一颗肯定现实、拥抱现世之心来实现由入世而出世的自我生存,在他们的隐逸生活和隐逸审美中就诞生了一种新的审美心态——超然。在这种超然隐逸审美文化心态的导引下,清澄淡雅但又不失大味、大美的平淡美就成了宋代隐逸审美文化的基本风格,同时不拘法度、恣情适意的超逸境界成为宋代隐逸审美文化普遍追求的最高理想。第四部分“宋代隐逸审美精神与审美文化创造:以园林为个案解读”。宋代士人看重精神隐逸,白居易的“中隐”观正好契合了这种心态,于是边官边隐的“中隐”模式成为宋代士大夫普遍的生存选择,而园林又是安放这种隐逸精神的最佳场所,于是园林艺术备受青睐,其在自然野逸、简淡素朴、画境而文心之中处处彰显着宋代士人超然物外、平淡至真以及超蹈远逸的隐逸审美文化精神,成为宋代隐逸审美文化的典型艺术样式。

【英文摘要】 This article take the Song Dynasty esthetic culture of seclusion as the object of study, unifies the angle from esthetics and the culture, comprehensively and discussed esthetic cultural of seclusion——this unique cultural shape in chinese esthetic cultural history, objectively and inquired about the survival condition and the spiritual pursue of Song Dynasty people who recluse carefully, tries hard to analysis and explain the historical perspective, the essential feature of the Song Dynasty esthetic culture of seclusion, while makes the overall contemplation to the Song Dynasty esthetic culture of seclusion, but also selected the landscape art ,the most representative to the sprit of Song Dynasty esthetic culture to make the case analysis, presented by the chart through the overall contemplation and the embodiment unifies unfolds the cultural quality of the Song Dynasty esthetic culture of seclusion . This article divides into four chapters:Part One“explain the esthetic culture of seclusion”.“The esthetic culture of seclusion”is a new conception of this article, which proposes above comprehensive survey the seclusion and the culture of seclusion of learning history, as well as the relation of seclusion and Chinese traditional esthetic culture. Before discuss and analyses the Song Dynasty this special time in the esthetic culture of seclusion, must be clear about“the esthetic culture of seclusion”.This article among the conception of the culture of seclusion, recluse, the person who recluse and the esthetic cultural to realize the connotation and the extension of the esthetic culture of seclusion.Part Two“the Song Dynasty esthetic culture of seclusion’s historical perspective”. Song Dynasty advocated that“by the culture, implements the civil official politics all day long”(yi wen hua cheng tian xia), the scale and the scope of people who recluse expand the Song Dynasty reclusion wind is blazing. Because these who have the extremely high cultural accomplishment join in the artistic creation initiatively, the Song Dynasty esthetic culture of reclusion is growing vigorously. Under the background of“Confucianism, Buddhism, Taoism fuse mutually”, Serves reclusion trend harmonious and unification, reclusion from“hidden”the primary boundary rises to“leisurely”high-quality boundary, what brings the Song Dynasty esthetic culture of reclusion reforming. Because the Song Dynasty recluse does not rigidly adhere to reclusion concrete form, what regards is sprit recluse in the heart of hearts, the Song Dynasty esthetic culture of reclusion is also promotes along with it to does not arrest the law unusually, refined“unconventionally graceful”the highest esthetic boundary. Part Three“the Song Dynasty esthetic culture of reclusion’s essential feature”. The Song Dynasty recluse's spirit recluse is by an affirmation reality, hugs heart of the present world to realize the self-survival which is from entry to reclusion, and one kind of new esthetic view - - aloof was produced in their recluse life and the recluse esthetic. Under this esthetic view of the esthetic culture of reclusion, the style of insipid which clear but did not lose the big taste and beauty become the Song Dynasty esthetic culture of reclusion’s basic style, and unconventionally graceful boundary become the Song Dynasty esthetic culture of reclusion’s the highest ideal.Part Four“the Song Dynasty esthetic sprition of reclusion and esthetic cultural creation: take botanical garden as case explanation”. The Song Dynasty gentleman person regards the spirit recluse as the highest ideal, Bai juyi‘s“On the one hand official on the other hand hidden”has happened to agree with this kind of point of view, therefore this pattern becomes the Song Dynasty literary intelligentsia’s universal survival choice. The botanical garden is the best place to to lay the sprit of reclusion, so botanical garden which nature, simple and picture boundary in the article heart everywhere is showing Song Dynasty gentleman person’s aloof, lightly to real as well as ultra steps the far leisurely, becomes the Song Dynasty esthetic culture of reclusion’s the typical artistic style.

【中文关键词】 隐逸审美文化; 宋代; 隐逸审美精神; 中隐; 园林艺术
【英文关键词】 The esthetic culture of reclusion; Song Dynasty; Spirit of esthetic reclusion; Official hidden; Landscape art
【论文目录】
中文摘要 6-8
ABSTRACT 8-9
引言 10-13
一、隐逸审美文化的界定 13-18
    (一) 隐逸文化的界定 13-15
        1. 隐逸、隐士的含义 13-14
        2. 隐逸文化的含义 14-15
    (二) 审美文化的界定 15-16
    (三) 隐逸审美文化的界定 16-18
        1. 隐逸与审美 16
        2. 隐逸文化与审美文化 16-17
        3. 隐逸审美文化 17-18
二、宋代隐逸审美文化的历史背景 18-23
    (一) “以文化成天下”与宋代隐逸审美文化的勃兴 18-20
    (二) “三教融合”与宋代隐逸审美文化的转型 20-21
    (三) 隐逸的精神化转向与宋代隐逸审美文化境界的提升 21-23
三、宋代隐逸审美文化的基本特点 23-36
    (一) 超然:宋代隐逸审美文化心态 24-28
    (二) 平淡:宋代隐逸审美文化风格 28-32
    (三) 超逸:宋代隐逸审美文化理想 32-36
四、宋代隐逸审美精神与审美文化创造:以园林为个案解读 36-46
    (一) 精神隐逸与宋代士人园林生存 36-40
        1. “中隐”:宋代士大夫的生存选择 36-38
        2. “中隐”园林与宋代士人园居生存 38-40
    (二) 宋代隐逸审美精神与园林艺术 40-46
        1. 自然野逸 41-42
        2. 简淡素朴 42-44
        3. 画境文心 44-46
结语 46-47
注释 47-52
参考文献 52-55
致谢 55-56
攻读学位期间学术成果 56

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