摘要
"中和"观念不只属于儒家。在老子和孔子的哲学及美学思想体系中,"中和"观念皆具有重要位置及丰富内涵。老子与孔子的"中和"观念是基于不同文化立场对周代社会、政治、文化所进行的总体评估和反思。在哲学本体论层面,老子的"中和"观倾向于自然生命本体,孔子的"中和"观侧重于社会伦理本体。针对春秋时期美善一体的礼乐文化,老子和孔子的"中和"观体现出不同的审美价值取向。由特定的审美价值取向所制约,老子和孔子以其各自不同的"中和"观为基础,形成了对中国美学发展影响至深的相关审美判断。老子的"中和"观推崇"道法自然"和"见素抱朴",孔子的"中和"观则激赏"绘事后素"和"尽善尽美"。
The range and concept of ＂Neutralization＂ do not just belong to the Confucian. In both Laozi and Confueius＇s philosophical and aesthetic systems, the concept of ＂Neutralization＂ occupies an significant position and has an abundant connotation. Laozi and Confucius^s understandings of ＂Neutralization＂ are based on different cultural perspectives,generally assessing and reflecting social, political and cultural issues of Zhou Dynasty. In terms of Ontology, Laozi prefers to the natural life noumenon while Confucius emphasizes the ethical noumenon. Aimed at the propriety and music culture which combines beauty and kindness of the Spring and Autumn period,Laozi and Confucius^s concepts of ＂Neutralization＂ reflects different aesthetic value orientations. Restricted by specific value orientations, Laozi and Confucius developed relevant aesthetic judgment based on respective concepts of ＂Neutralization＂ , which impacted Chinese Aesthetics a lot. Laozi＇s ideas about the ＂Neutralization＂ praise highly ＂the Dao Emulates Nature＂ and ＂Manifest plainness, and Embrace simplicity＂, while the concepts about the ＂Neutralization＂ of Confucius appreciate ＂Painting after Simplicity＂ and ＂Perfectness＂.
出处
《武汉大学学报（人文科学版）》
CSSCI
北大核心
2013年第4期60-66,共7页
Wuhan University Journal (Humanity Sciences)
基金
国家社会科学基金一般项目(11BZW014)
关键词
老子
孔子
中和
礼乐文化
Laozi
Confucius
Neutralization
the culture of ceremony and music
