马一浮国学观散论

Essay on Ma Yi-fu's Sinology Concept

当今谈国学不能不追溯百年前学人的国学观。要追溯百年前学人的国学观,就务必要了解章太炎、马一浮的国学观,因为章马两先生的国学观是上个世纪初学人国学观的典型。本文对马一浮国学观的探讨,重在说明:马氏不赞成章氏以经、史、子、集四部学问谈国学,将"国学"楷定为"六艺之学"。他对于其国学之定义并没有予以论证,只是陈述了他的看法——"国学"为"六艺之学",是因为中国固有的四部学问为"六艺"(六经)所统摄。他不但认为"六艺"统摄中国一切学问,还进而强调"六艺"亦统摄"西来的一切学术"。这一强调,旨在凸显"六艺之学"的世界意义,为其"世界人类文化最后必归于六艺"之见解确立学理上的依据。

When talk to Sinology, we have to talk centuries retrospective view. To retroactive people＇s sinology before hundred years ago, it is important to understand sinology of Zhang Tai-yan and Ma Yi-fuya, because both Mr. Zhang and Mr. Ma＇s sinology are typical in the beginning of last century. This article discusses the sinology concept of Ma Y-ifu, focusing description： Mr. Ma disagreed with Mr. Zhang, who talked about sinology from classics, history, Confucius and subset perspectives, and defined ＂Sinology＂ as ＂Six Arts＂. He did not demonstrate for the definition of sinology, just stated his views --- ＂Sinology＂ is ＂Six Arts＂ because of China＇s four natural science unified by ＂Six Arts＂ （Six Classics）. He not only thought that ＂Six Arts＂ unifying all learning in China, but also further emphasize it unifies ＂all academic which came from West＂. This emphasizes made the purpose of highlighting the worldwide significance of ＂Six Arts School＂, established doctrinal basis for ＂human culture must be attributed to six arts at last＂.