陈白沙之“曾点传统”的美学诠释
中文摘要
宋明理学注重主体心性的探究，追求心性之乐，主张通过心性的涵养修治, 而进于天人合一的“乐境”，获得主体心体与宇宙自然合一的审美超越。岭南陈
白沙上承濂洛，下启阳明之学，是继宋元程朱道学之后“新儒学”的重要心学代
表。其学“以自然为宗”，以“自得”为心学法门，在本体论上坚持自然主义, 认为“道”是事物永恒存在和运动的内在依据，宇宙万物自然流变，主体顺乎万
物之情，随运化以施其功，而不累于物，即是“自得”，然后充满和乐，从而提出了“自然之乐，乃真乐也”的乐感命题。真乐是主体内心的一种直觉体验。
在境界论上，陈白沙“言语动静”间表现了一种闲适洒脱、自如无碍的精神风貌和人生境界，推崇“浴沂舞雩”的“曾点传统”，向往曾点之乐。实际上, “曾点传统”就是一种融合于大自然的审美情趣和超越世俗的胸襟，而相对于安
贫乐道的“孔颜乐处”，同是宋明理学的两个重要理学命题。而事实上，作为宋
人脸识别考勤
明理学基本问题的本体工夫之辩的境界含义就是敬畏与洒落(或戒慎与和乐)之
争，这是明代理学的内在逻辑线索。陈白沙远取曾点、周敦颐、邵康节、程颢一
路洒脱之风，与程朱严谨面目相扬镳，隐居田园，寄情于山林水泊之际，怡然自
乐。鄙弃名利、平淡率真有如陶渊明，以春为仁、闲适和乐有如邵康节。
陈白沙不事著述，却继“富贵福泽”的台阁体而起，发为清新雅健的“山林体”诗歌，标榜性情，重视诗歌主体情感的本体地位，高扬主体精神，为明初以来沉闷死寂的思想界吹进了一股清风。
陈白沙心学处处表现了生命的律动和跳跃，凸显了一种物我合一的审美超越和与物为春的生命精神，根本是“动”的哲学。“曾点传统”不仅是儒家乐论传
统的一个理学命题，更是中国传统生命美学的一个美学范畴。
关键词 ：陈白沙“曾点传统”心学生命美学
IAbstract
Song-Ming Confucianism pay attention to exploring the nature and mind of the subject,
pursue the pleasure of mind, and maintain achieving the pleasure level through the culture of the
布偶猫价位mind, in order to get aesthetic transcendence of the unification of the mind of the subject and the
易错字
natural of the univer. In Lingnan, Chen Bai-Sha is the important Neo-Confucianism
reprentatives of Mind after Cheng-Zhu Daoism of the Song-Yuan dynasties, who inherited
upwards Lian-Luo’s theory and opening up the doctrine of Wang-Yang Ming. His theory takes
nature as the tenet and lf-complacent as the method, holds naturalism on Ontology, and believes
that Tao is the inner basis of perpetual existence and movement of every thing. The Subject
小品剧本搞笑幽默
conforms to the situation that all thing in univer varies naturally, in this way he achieves his aim
according to the pace of the univer while not be constrained by substance. So his heart fills with
pleasure and this is so-call Contentment. All above is Chen Bai-Sha’s proposition of Le-Gan the
feeling of pleasure.He sums up in one ntence that the nature's pleasure is the real pleasureIn the theory of realm, his speech and activity expresd a spirit and a realm of leisure,
freedom, easiness and no obstruct. He highly praid the Zeng-dian Style of Yuyi Wuyu, longed
for the pleasure of Zeng-dian. Actually Zeng-dian tradition stands for the aesthetic ntiment that
the subject fus itlf into the nature and the mind transcend the
mundane, which is different
from the Kong-Yan Le-Chu, While both are the two important propositions of Neo-ConfucianismIn fact, as the basic problem of Neo-Confucianism, the meaning of realm of the contention about ontology with effort Gong-fu is the contention about awe and free, or caution and joy. This is the消防队长>泊秦淮的作者
镍电池
inner logic of Neo-Confucianism in Ming Dynasty. Chen Bai-Sha followed the easy style like
Zeng dian, Zhou Dun-Yi, Shao Kang-Jie, Cheng Hao, which differs from the rigorous features of
Cheng-Zhu Confucianism. He lived in countryside and left his mind in the landscape to achieve
his own joy. He was plain and outspoken, disdained fame and fortune similar to Tao Yuan-MingHe was leisure and happy, who took the spring as Ren like Shao Kang-JieAlthough Chen Bai-Sha didn’t focus on writing, he originated a fresh and elegance poetry
genre which was called mountain body instead of the Tai-ge form, of which the style was riches
and honorary. This new style of poetry boosted the person’s temperament, emphasized on the甜椒炒肉的做法
ontological status of the subject’s emotion of poetry, and lifted the spirit of the subject, just like a
wind breezing into the intellectual world which was dull and silence since the early MingThe rhythm and jump of life is evident in Chen Bai-Sha Mind theory everywhere, which
highlights the aesthetic transcendence of the unification of the subject and the substance, and a
spirit of life of mutualism. So we can say it’s the “moving” philosophy ultimately. Wu-Yu Style
therefore is not only a Confucianism proposition of the Confucian happy theory tradition, but also
an aesthetic category of the Chine life Aesthetics
Key words: Chen Bai-Sha; Zeng-dian tradition; Neo-Confucianism; Life AestheticsII目录?
中文摘要.Ⅰ?
AbstractⅡ?
目录Ⅲ
前言..1?
第一章陈白沙之“曾点传统”的继承与超越..3?
一、“孔颜乐处”与“曾点传统”4?
二、陈白沙之“曾点传统”的审美超越.9?
第二章“虽宗击壤，源出柴桑”??陈白沙与陶渊明、邵雍..13?
一、陈白沙的陶渊明接受..13?
二、陈白沙之“曾点传统”与邵雍之“风月情怀”20?
