明末清初嘉定竹刻中的文人士气与审美伦理

Morality and Aesthetic Ethics of Scholars in Jiading Bamboo Carving During the Late Ming and Early Qing Dynasties

随着明王朝的覆没,嘉定竹刻的发源地爆发了以“嘉定三屠”名世的抗击满清入侵的民族主义抗争,嘉定惨遭屠城,嘉定竹刻在此时也迎来了发展的鼎盛期。为探求竹刻鼎盛背后更为隐蔽的审美伦理负载,使用审美伦理的研究方法对嘉定竹刻的审美主体(创作者与欣赏者)以及审美客体(嘉定竹刻)进行分析。嘉定文人志士或是选择舍身殉节,显示出超拔不群的不屈人格;或是选择退隐守节,彰显出文化自救的遗民意识;此时嘉定竹刻不再是简单的竹艺术品,而成为“气节”的暗语,受到嘉定地区和清初明朝遗民群体欢迎。此期士林人士忧国忧民之郁闷以及“士可杀不可辱”的亡国悲情借助竹刻作品“残山剩水”得到了淋漓尽致的表达。

With the fall of the Ming Dynasty,a nationalist struggle known as the “Three Slaughters in Jiading” erupted in the birthplace of Jiading bamboo carving to resist the invasion of Man ethnic group.Jiading suffered a brutal massacre,and at this time,Jiading bamboo carving ushered in its heyday of development.To explore the hidden aesthetic and ethical loads behind the prosperity of bamboo carving,this study uses aesthetic ethical research methods to analyze the aesthetic subjects(creators and admirers) and aesthetic objects(Jiading bamboo carving) of the Jiading bamboo carving.The literati and patriots of Jiading either chose to sacrifice their lives,demonstrating an indomitable and extraordinary personality,or chose to stay in seclusion and maintain integrity,showcasing the consciousness of culture conservation among the survivors from the slaughters.At this time,Jiading bamboo carvings were no longer simple artworks,but a symbol of “integrity”,which were welcomed by the Jiading Region and the remnants of the Ming Dynasty.At this time,the melancholy of the literati's concerns for the country and the people,as well as their tragic feeling that “scholars can be killed but not humiliated,” was vividly expressed through the bamboo carving works with its “Remaining Mountains and Waters”.