【作者】 赵丹；

【导师】 宋薇；

【作者基本信息】 河北大学 ， 中国哲学， 2024， 硕士

【摘要】 庄子,道家之巨擘,于哲学之域,独辟蹊径,建树卓然。然其贡献并非止于此,于美学之发展,他也有独特的建树。庄子勇于突破传统美丑观念之桎梏,发现了“丑”中所蕴含的美学价值,并对其进行了全新的诠释与定义。庄子对“丑”思想的发掘与推进,无疑为古典美学注入了勃勃生机。庄子“丑”的美学思想并不是无的放矢,其深植于老子“道”与“美”的哲学思想,也吸纳了楚宋文化中独特的“尚奇尚异”元素,又在战国时期的纷乱背景之下得以锤炼和深化。这些因素共同塑造出了庄子对“丑”的独特理解,使其美学思想愈发丰富和深刻。庄子认为,万物皆有其道,美、丑不过是万物存在的不同表现形式,其本身并无差异,不能成为判人划物的绝对标准和依据。美、丑也并非绝对的对立,彼此间也能够相互依存、相互转化。换言之,美、丑之间固然存在着客观差异,可一旦超出特定的范围,“美”能化为“丑”,“丑”亦能化为“美”。于“丑”而言,化丑为美的关键便是德行的充盈。因此,他提出,形体上的笨拙和低劣并不是真正的“丑”,德行上的“恶”才是真正的“丑”。纵使是“畸人”,也能以“德之长”来消解“形之短”,最终化丑为美,成为人们欣赏和赞扬的对象。但是,庄子对于“丑”的推崇并不是为了抹煞“美”的存在,他只是反对一般意义上的美,更是为了让人们摆脱对“丑”的偏见和歧视,拥有正确的审美认知。人们在认识世界的过程中,既要承认美的存在,也要接纳丑的存在,正视二者间的相对差异,理解二者间的绝对变化,唯有如此,人们才能放下对形体美的偏执和俗见,去追寻精神上的、永恒的美。这种观念在庄子对畸人、散木和体道之物的描绘中也得到了充分体现。庄子虽然承认外在的“丑”,但并不认为外在的“丑”是真正的“丑”。他对“丑”的重视,实际上是要强调一种内在精神的超越。通过对“丑”的重新审视,庄子跳脱出了世俗审美的藩篱,实现了人生境界和审美境界的双重超越,而这也赋予了庄子美学思想以鲜活的生命意义。作为“丑”思想的发现者和重要推进者,庄子的贡献不仅在于理论层面的创新和发展,他对于“重神轻形”、“崇尚自然”的深刻阐发,更是对后世文艺创作和审美观念产生了深远的影响。更多还原

【Abstract】 Zhuangzi,the great master of Taoism,developed his own way and made outstanding achievements in the field of philosophy.However,his contribution does not stop there,in the development of aesthetics,he also has a unique contribution.Zhuang Zi bravely broke through the shackles of the traditional concept of beauty and ugliness,found the aesthetic value contained in "ugliness",and made a new interpretation and definition of it.Zhuangzi’s exploration and promotion of "ugly" thought undoubtedly injected vitality into classical aesthetics.Zhuangzi’s aesthetic thought of "ugliness" is not without aim,it is deeply rooted in Laozi’s philosophical thought of "Tao" and "beauty",and also absorbs the unique "strange and different" elements in Chu and Song culture,and is refined and deepened under the chaotic background of the Warring States period.These factors together shaped Zhuangzi’s unique understanding of "ugliness",which made his aesthetic thoughts richer and deeper.Zhuang Zi believed that all things have their own way,beauty and ugliness are just different forms of the existence of all things,and there is no difference in themselves,and they cannot be the absolute basis and standard for judging people and objects.Beauty and ugliness are not absolute opposites,they can also depend on each other and transform each other.In other words,although there are objective differences between beauty and ugliness,once it exceeds the specific scope,"beauty" can be transformed into "ugliness",and "ugliness" can also be transformed into "beauty".For ugliness,the key to turning ugliness into beauty is the fullness of virtue.Therefore,he proposed that physical clumsiness and inferiority are not the real "ugliness",but moral "evil" is the real "ugliness".Even the "deformed person" can use the "long virtue" to dissolve the "short form",and finally turn the ugly into the beautiful,and become the object of people’s appreciation and praise.However,Zhuangzi’s praise of "ugliness" is not to erase the existence of "beauty",he is only against the general sense of beauty,but also to let people get rid of the prejudice and discrimination against "ugliness" and have a correct aesthetic cognition.In the process of understanding the world,people should not only acknowledge the existence of beauty,but also accept the existence of ugliness,face up to the relative differences between the two,and understand the absolute changes between the two.Only in this way,people can put down their paranoia and common views on physical beauty and pursue spiritual and eternal beauty.This concept is also fully reflected in Zhuangzi’s depictions of deformed human beings,scattered wood and objects of the body.Although Zhuang Zi acknowledged the "ugliness" of the outside,he did not think that the "ugliness" of the outside was really "ugliness".His emphasis on "ugliness" is actually to emphasize an inner spiritual transcendence.Through the re-examination of "ugliness",Zhuangzi jumped out of the barriers of the secular aesthetic,and realized the double transcendence of the realm of life and aesthetic realm,which also gave Zhuangzi’s aesthetic thought with fresh life significance.As the discoverer and important promoter of the "ugliness" thought,Zhuangzi’s contribution lies not only in the innovation and development of theory,but also in his profound explanation of "valuing God over form" and "advocating nature",which has a profound impact on the literary creation and aesthetic concept of later generations.更多还原