【作者】 陈雪；

【导师】 屠友祥；

【作者基本信息】 山东大学 ， 文艺学， 2015， 硕士

【摘要】 汉字“一”,虽简单却复杂,作为中国古代哲学的一个重要概念,它贯穿了儒道释等众家学说,在我国民族审美与认知方面产生了重要的影响。在历史上,中西方都经历了用数字解释世界的时期,在哲学以及文化中,数字都曾煊赫一时,但最终却只有少数的数字保留了下来,“一”便是其中特殊的一员。“一”的特殊,源于多方面的原因,譬如其数学意义与数首的地位,譬如原始宇宙生成观与认识的影响,譬如自然语言与逻辑语言的隔阂所导致的简化趋向,“愈多愈远,损则近之,损之至尽,乃得其极”(王弼《老子注》四十二章),譬如大一统的社会趋向,譬如许多民族所共有的“混沌—崩裂”创世观念等。从最初的数字之一,到一个具有特殊意义的哲学名词,“一”在中西方哲学}史上,都有着自己明显的发展道路。从《易》、《道德经》等出发,中国的“一”从难以言说的天机、制衡全局的关键,变成万物产生的前提之一,再变成万物之本,与“道”紧紧地纠缠在一起,掀起了“有无之辩”、“动静之争”、“虚实之论”,同时它又与儒道释各家学说结合,与具体艺术门类相应,发展出丰富的意义。西方的“一”,则从"Pythagorean one"到"Parmenidean One",再到"Eleatic One",从普通的世界之原,变成“神”、“最高的善”、哲学范畴之一,直至最终被“存在”、“理念”、“逻各斯”等更为抽象的名词所取代。与西方哲学中“一”,最终趋于沉寂,进而被替代不同,中国的“一”,始终保持着旺盛的生命力。这其中很大一部分原因,在于中西方“一”的天然差异性。与西方的“一”主要从数学发轫不同,中国的“一”“即卦画之单,乃一画开天之意”(《释例》,丁福保《说文解字诂林》),从产生伊始便带着抽象而神秘的色彩。二者不仅出身定位不同,在思维层次、审美原则上也存在明显的差异。以数字“1”的完整性为起点,西方的“一”关注的始终是变化中的不变,而产生于八卦变化之中的中国的“一”,更关注的则是不变中的变化,一为变中求同,一为同中求变。不同的缘起与定位,也导致了“天人合一”的圆融与“寓杂多于整一”固着之别,从而走在了两条不同的发展道路上。古老的文化,开创了一个具有持久影响力的思想系统,影响着我国各种学术思潮对于汉字“一”的认识,它像个万能词汇,被反复使用,像个抽象的模型,被众人不断注入新的内涵。抛开数字之“1”,“始、初与极”、“本与末”“有与无”、“大与小”、“全与单”、“混与纯”、“同与另”、“总与别”等,这些隐喻意义大相径庭,甚至完全相反,却又一脉相承,因此在中西方翻译中,汉字“一”也成了一个复杂的存在。汉字“一”隐喻意义的出现与发展,有着独特的民族思维特点,表现出独特的审美特性。石涛根据“一”的众多隐喻意义而提出的“一画”论,作为美学史上一个重要的理论,也从侧面与“一”的隐喻思维中所包含的民族审美特性,一一印证。在民族思想文化中,汉字“一”影响非常广泛,形成了典型的民族认知模式,譬如同中求变、圆融为美、天人合一、朴拙为上等。这些认知模式与“一”的审美特性暗暗相合,通过分析它们,我们可以发现,“天下同归而疏途,一致而百虑”(章学诚《文史通义》内篇一《易教下》),那些早已习以为常、似乎千差万别的艺术审美,其实异曲同工,都有着共同的内核,而这个内核与我们常常熟视无睹的汉字“一”,则有着千丝万缕的联系。更多还原

【Abstract】 The Chinese character "One", which is the most simple but also the most complex, was an important concept in the ancient Chinese philosophy. There are many tracts of it in the Confucianism, the Taoism, the Buddhism, and it had some important impacts on the national aesthetic and cognitive.In the history, whether the China or the West, has experienced the phase in which the scholars used the numbers to explain the world, and the numbers played important roles in philosophy and culture. However, only a few numbers retained finally. The One was one of them. There were many reasons of its retention. For example, it has important mathematical sense and is in first place in the number. The second, there are barriers between the symbols and meanings, maybe just as the saying said, "The more you retain the farther you leave, the more you reduce the closer you are. When you reduce almost to be empty, you get it." (Wang Bi, The Comments on Lao Tzu, Chapter 42) The third, the social developed to unification. The last but not the end, there was an same old idea about creation that the world was from a mass of chaos then to fission.From one of numbers, the One developed to a philosophical terms with special meaning. There was clear road of its development whether in the China or in the West. The Chinese One started from The Book of Changes and Tao Te Ching, and from the mysterious providence to the key to control the overall situation, to one of the sources of the world, then to the only source of all things. It intertwined with "Tao", caused the debates about the being and not-being, the dynamic and static, the virtual and real, while the Western One started from the Pythagoras One to the God, to the Good, and then was replaced by the Ideal, the Being, the Logos, the absolute Geist, and so on.Unlike the Western One, the Chinese One always maintained a strong vitality. A large part part of the reasons were their difference. The Chinese One "was from the ancient fortune-telling, and meant the creation of the world"(Ding Fubao, The Comments collections on Origin of Chinese Characters), and came with abstract and mysterious, while the Western One came from its mathematical sense. They had different origins, different locations, so there were significant differences in their specific contents and aesthetic properties.The Western One payed attentions to the constant nature, for it began at its inseparable as a number, so the One was "a single substance with various types and attributes". At the same time, the Chinese One insisted on diversification, for it came from changes. As a result, they had different paths.The ancient culture has long-term effects on the later times and decides how the scholars understand the Chinese One. So the Chinese One is like a large box which can hold anything. For example, "the Source, the Initial and the Pole", "the Root and the Tree", "Being and Not-being", "Huge and Tiny", "Whole and Specific", "Chaos and Pure", "Together and Another", "Overall and Certain", and so on. They are different, even, contradictory, so the Chinese One is very complex in translations.There are special national aesthetic features and cognitive characteristics in the Chinese One’s metaphorical meanings. According to them, Shi Tao, the famous artist in the Qing Dynasty, put forward the important aesthetic theory named "Yi Hua". This theory also proved the aesthetic features in the Chinese One’s metaphorical meanings.The Chinese One had some important impacts on national aesthetic and cognitive. By analyzing them, we would find that, there was an same core in the vastly different theories, and this core, more or less, was associated with the Chinese One.更多还原