宋代理学家的文艺本体论——以诗文书画为中心的综合考察

Art ontology of neo-Confucianism in the Song Dynasty

两宋理学家的文艺思想相对于传统文人而言具有自身的共性特征,同时又具有内部的分野与嬗变。其文艺本体观集中地表现在对文道关系的认识上,虽大致显示为由重道轻文到融汇为一的演变趋势,其内在过程却复杂得多。而这种演变背后的思想支撑,则是南宋以来理学家多将文艺活动纳入格物穷理与心性修养的道学体系,表现出对理学先辈"作文害道"说等极端文艺观的反思,也是对孔子"游于艺"思想的认同与归位。理学家的"游艺"之学涵盖诗、文、书、画、琴、棋等文艺形式,因此,唯有将其在诸文艺活动中所发之艺术见解统摄在理学思想视域下进行综合考察,庶几可以深入揭示其艺术精神及演进轨迹。

The neo-Confucianism in the Song Dynasty stressed Dao while disregarded Wen but later emphasized the unity of the two.The Confucianism philosophers in the Southern Song Dynasty criticized the radical view that literary writing prevents the spread of the Dao of Confucianism,which can be considered a restoration of Confucius' view of "a mastery of the six arts".Different from Confucius,these scholars proposed various art forms of writings,calligraphy,paintings,Guqin,and Go. To explore their art ontology,we need to study their views on these art forms in an effort to trace the history of their ideas.