【作者】 时凤玲；

【导师】 杨存昌；

【作者基本信息】 山东师范大学 ， 文艺学， 2005， 硕士

【摘要】 郭熙的山水画美学是在北宋理学崛起的时代背景下形成的。北宋理学带给宋人的是充满着宇宙意识的道德追求和格物致知的时代精神。在这种思想文化背景下,郭熙形成了把自然审美和伦理道德追求相统一的山水画美学。本文从五个方面对此进行了论证: 引论部分,阐述了本文的研究起点。首先论述了郭熙的山水画论——《林泉高致》在山水画美学思想史上所具有的地位。接着分析了目前学术界对郭熙山水画美学思想研究的状况。现代的研究者大多是从道家艺术精神实现的角度来看郭熙的美学思想,忽略了郭熙山水画美学思想形成的时代背景。最后提出本文是从郭熙所处的时代文化背景出发,对郭熙山水画美学思想的内涵和意义进行分析。第一部分,分析郭熙山水画美学思想的形成背景。北宋时期,复兴的儒学和注重习儒的画家所追求的都是儒家的道德精神。郭熙的一生也是以儒家道德为人生价值取向的。在这种复兴的儒家道德基础上发展而来的理学道德,与人们对自然的认识联系在一起,包涵着深沉的宇宙意识。理学的“格物致知”就是要求人们在对宇宙自然的观察与体认中扩充自身的德性。第二部分,分析郭熙山水画美学思想的内涵,这是本文内容的重点。本文把郭熙《林泉高致》中的美学思想系统化为四个部分:“不下堂筵,坐穷泉壑”的审美功能论;涵养“林泉之心”的审美修养论;“身即山川而取之”的审美观照论;“仰看白云,俯听流水”的审美境界论。这四个方面大体上概括了郭熙《林泉高致》中的主要美学思想。“不下堂筵,坐穷泉壑”的审美功能论从人性论的层次上揭示了自然审美与伦理道德追求的统一。“丘园养素”和“君亲之心”都是生命的本性需求。一个完整的人应该在自然中感受生命的存在,使自己的自然本性得到自由发展;也应该在社会中尽到自己的责任,使自己的社会本性得到发展。山水画的审美应该而且也可以同时满足这两种需要。因为山水之美是一种发现,而非一种存在。只要审美者具有发现山水之美的“林泉之心”就可以不必隐逸到山水之中而是在社会生活中获得山水之乐。正是因为山水之美的关键在于是否具有“林泉之心”,郭熙涵养“林泉之心”的审美修养论主张画家的修养在于审美者德性心灵的扩充。本文从郭熙论述的画家向内的修养、画家向外的修养、创作心境的陶养三个方面分析了他的画家修养论。画家向更多还原

【Abstract】 Guo Xi’s landscape painting aesthetics is gradually formed under the background of Neo-Confucianism culture in the North Song Dynasty. Neo-Confucianism brings the moral that full of universe consciousness and spirit of the times which studies the phenomena of nature in order to acquire knowledge to people. Under this culture background, Guo Xi forms the landscape painting aesthetics that unifies naturally aesthetic and moral pursuit. The content of this paper is divided into five respects: In the part of the foreword, the research starting point of this paper is discussed. Guo Xi’s landscape painting thought in Lin Quan Gao Zhi has important position and value in the history of the landscape painting aesthetics. Then, we analyze the academic research situation on Guo Xi’s landscape painting aesthetics thought at present. Many researchers believe that Guo Xi’s landscape painting aesthetics thought stems from the thoughts of Taoist school. We think that they neglect the era background of Guo Xi. We analyze Guo Xi’s landscape painting aesthetics in the background of Neo-Confucianism culture. First part, the forming background of Guo Xi’s landscape painting aesthetics thought. In the North Song Dynasty period, Confucianists and many painters all pursue the moral of Confucianism. The value orientation of Guo Xi is the Confucianism moral. The Neo-Confucianism’s moral includes universe consciousness. And it argues that we should observe and experience nature in order to expand our own moral characters. Second part, the connotation of Guo Xi’s landscape painting aesthetics. The connotation of Guo Xi’s landscape painting aesthetics can be divided into 4 parts: aesthetic function theory, aesthetic quality theory, aesthetic observation theory, aesthetic world theory. The four respects summarize the aesthetics thought in Lin Quan Gao Zhi . In the aesthetic function theory, Guo Xi propose that nature aesthetic and moral pursuit can be unified together, because nature aesthetic and moral pursuit all are natural instinct demands of the life. An intact person should experience the existence of the life in the nature, make one’s own natural instinct get freedom development; should reach one’s own responsibility in the society too , make one’s own social natural instinct developed.更多还原