摘要
陈抟是宋代蜀学美学草创阶段的重要人物,对蜀学以及蜀学美学产生了一定的影响,拉开了蜀学美学的理论架构。首先,他的美学本体论虽带有浓厚的道教色彩,但与后来的苏氏蜀学美学一样以"道"为本。其次,在道器、道技关系上,陈抟调和了它们间的对立关系,为器、技留下了生存空间,彰显出蜀学美学的包容精神。这正是蜀学美学一以贯之的基本精神。再次,陈抟既以"醉"为消除欲望、进入自由的工夫,又以"醉"为消除欲望、进入自由后的境界,为"醉"在苏氏蜀学美学中的全面展开奠定了基础。
Chen Tuan is an important scholar in the period of the rudiment of aesthetics of Shu Aesthetics. Firstly,he regards Dao as the ontology of aesthetics as well as Three Su. Secondly, he reconciles Dao Qi and Dao Ji, which manifests the tolerant spirit of Shu Aesthetics. Lastly, he regards Zui not only as a way but of a state of eliminating lust and entering the free realm, which lays foundation for the further development of Zui in Three Sus Aesthetics.
出处
《绵阳师范学院学报》
2017年第7期6-9,共4页
Journal of Mianyang Teachers＇ College
基金
四川省哲学社会科学重点研究基地美学与美育研究中心项目"宋代蜀学与美学研究"(16Y004)
关键词
蜀学美学
“道”本论
道器合一
“醉”
Aesthetics of Shu Theories, Dao, the unity of Dao and Qi, Zui
