先秦儒家의 美學思想 硏究 : 孟·荀을 중심으로 = (A)study on the aesthetic thoughts in Pre-Chin confucians : with particular emphasis on Mengzi and Xunzi

다국어 초록 (Multilingual Abstract)

中 文 抄 錄

先秦儒家的美学思想研究
-孟․荀爲中心-

成均館大學校 大學院
儒學系
儒敎哲學․禮樂學專業
沈衒燮


先秦儒家的美学思想以孔·孟·荀为代表。孟子的美学思想具有代表仁义观念的德性美学特征；荀子的美学思想则具有代表礼义观念的社会美学特征。两者皆继承了孔子所宣扬的“仁”之中华美学思想。
孔子思想的核心即为“仁”，“仁”既是道德的根本，也是价值的根源。“仁”包含所有的德目。“仁”通过实践发挥其真正的价值。从审美的角度观察，可以说“仁”的实践是完成德性后成为圣人的主观精神、贯彻修身齐家治国平天下的客观精神以及代表天人合一、万物一体的绝对精神的持续性的感性表现。“仁”思想的审美结构存在于社会的协调统一中，存在于“美”这个个体与社会的统一关系中，代表着实现具有统一性的感性表现。
“义”思想的审美特点为“直”。“义”是天命所呈现的直道。孔子所云直道是指没有欲望与邪念的、表现纯善的人类本性的原始人生态度。它代表着接受天命的纯善的“性”所发挥的正面作用。“直”是没有经过中介的直接连接，意味着天与人、天理与人性乃同一根源，即是将性与情、灵与肉、圣与俗联系并进行调和。这便是率性之道，是直道，是义之审美的直觉作用。这种认识由孟子具体化。
对于孔子礼乐思想的美学探求可以通过对《论语》中绘事后素与兴观群怨的考察得到正确与深入地理解。“礼”作为审美因素，作为审美标准的尺度与节制的典范使人们表现最为适宜的思想与感情。这一点可以通过对绘事后素的分析得到证明。作为审美因素的“礼”此后被荀子具体与精密化。“乐”则使人心纯洁、明亮而变成一个真正的人，希望通过与他人的交流起到审美的社会教化作用。这一点可以通过分析兴观群怨得到证明。兴观群怨原是孔子针对诗的功能所说的话，但考虑到诗歌歌词这一点，我们便可以用乐的兴观群怨作用来替换诗的兴观群怨作用。绘事后素与兴观群怨的审美作用是审美与艺术奉献给人类社会的财富，它提供的审美理论使人类通过艺术享受到更高级的人生之审美境界。
孔子审美境界的特征是“指向实现健全人格的悅乐境界”与“指向协调、统一公与私的中和境界”。孔子最终要追求的境界便是审美的悅乐境界。这种境界是陋巷之乐、曲肱之乐、发愤忘食之乐的境界，是指在实现了从心所欲不踰矩的人生最高境界才可享受到的审美的至高境界。可以说达到这种境界的孔子是行走于永恒而悅乐的自由境界中的真君子。这种孔子美学思想的核心便是作为孔子美学批判标准的中庸思想。
孟子美学思想的特征，一言以蔽之，是代表仁义观念的审美表现。特别要指出的是孟子的“义”由人类实践性的最高精神价值来决定，因而可以决然地用有限的生命替换无限的精神价值。可以说舍生取义是自觉主宰自己的生命来创造与实现价值。
孟子主张人性本善。他只将人类具有的仁义礼智与天道等内在道德性看作是人类的本性，强调通过回归使其变得美好。这种性论深深地影响了他的审美标准。
孟子称“充实之谓美”。对他来说空与皱不属于美。无善则是空、善不足则为皱。“充实之谓美”是指提供由善的扩充以实现大人•圣人的基础的人格审美标准。美与善形成了互不分离的内外关系。善为美的充实条件，美为善的呈现条件。充实指内在的充实，呈现指实现内在充实以后的外化。孟子将美分成善•信•美•大•圣•神等六个等级并予以说明。善•信•美为内在的充实条件，大•圣•神为外在的呈现条件。
审美意识是分辨美与丑的人类内在的知觉作用。这种知觉作用包含理性的认知作用与感性的直觉作用。不过孟子的感性并非指依据一般的五感的直觉，它包括原初德性的直觉。孟子的审美活动通过集义与行义实现。“义”是人必行之路，是正途。集义经良心的培养与浩然之气的培养而形成。良心的培养通过对已经丧失的善心的追寻过程实现，且必须要在自身上找寻。浩然之气的培养同样通过集义来实现。浩然之气是指人内在的精神状态充满仁义，使得毫不畏惧、奋发的状态。从这一点来看，作为个体人格仁义之道的浩然之气在物我一体•天人合一的角度观察是与天地间充满着的气属同一物。孟子所说的浩然之气是指个体的情感意志和个体所追求的伦理、道德的目标相互交融而呈现出的一种审美的精神状态。
审美意识的扩充通过行义实现。行义经“直”的作用形成，而“直”的作用是指德性的审美直觉活动。这样一种德性的审美直觉活动通过四端心的扩充与不忍之心的直觉活动体现出来。因人类本已具有固有的四端心，所以以其为根据便可实现善。四端心是人们普遍具有的本心，是永不变的具备万善的表现内在的性。所以扩充四端心是对人类价值的再思考，是与发掘人格美的审美活动同样重要的。孩子入井、以羊易牛等内容是指通过感官享受的美学最基本的低层次的问题，以此领悟由人内在的善之德性而发起的四端心。这也是呈现高层次美学境界的孟子美学思想的独特之处。
有关艺术论包括以意逆志论和知人论世论。以意逆志论是指在观赏艺术作品时，使意超越志而知其本意的理论。这里所说的意是指观赏者的意，而志则是作者的志。知人论世论是指为了观赏艺术作品，必须要掌握大量有关作者的信息，并正确理解其所处社会环境的理论。孟子的这种理论通过观赏与品评东方艺术的优秀传统中流传下来。
仁义观念的审美境界是享受仁义的境界。享受仁义便会忘却手舞足蹈。成为物我一体的个体人格无愧于天地。意味着天理与仁义达到了无须介意任何事物的审美的悅乐境界。这种境界是只有健全了人格的成人才可享受到的悅乐、是只有孟子才可高呼的至高至纯的审美的悅乐境界。而且孟子还要求个人的悅乐与他人一同分享，他称为与民同乐。你与我成为一体长处于悅乐境界。上与天成为一体、下与地成为一体并进行协调。这也就是实现物我一体•天人合一境界的最高的审美和谐境界。
荀子代表性的观念是礼义观念。他的礼义观念是由心的主观能动性形成的观念。荀子主张人性本恶。他称使恶的性转向善便要附加“伪”，那才可完美。荀子虽然明确区分性与伪，却也强调无性就没有附加“伪”的地方。荀子并没有将性看作破灭的对象，而是看作教化的对象。其可以通过人为而成为可能。不过这种“伪”必定要完整与精确。这便是荀子的审美标准。
荀子的心是认识事物客体的认知心，荀子将其表现为征知心。认知心的活动在“主客对立”的结构中进行。可以通过主宰心的理性认识发挥感性作用。心的感性作用使心明净故而真正发挥其作用。为此要做到心中无物（虚）、专一（一）、安静（静）。如果这种状态达到极致便可实现大清明。如果心达到大清明，便可掌握天地，利用万物，控制道及包含宇宙。所谓控制道是指用大清明之心实行礼义，使宇宙的万事万物都有条有理，各为所用。这是心通过大清明之“觉”所能获得的荀子独特的审美意识作用。
有关礼义观念的社会审美活动起始于人类与动物的区分。人与动物的本能在特殊的场合表现相同。生存竞争•弱肉强食•尊卑贵贱等在动物的世界与人类社会都是一样的。不过人类通过高智商发明了语言与文字，通过群居产生了“礼”以寻求人类的安宁与幸福。在这一点上“礼”尤其重要。对于荀子来说，礼与礼乐是同一概念。礼义的审美作用分别由作为礼义之统的辨别作用与作为礼义之道的文饰作用来代表。
所谓礼义之统是指将复杂的万事万物进行详细地分类，使其系统化。从审美上看，可以说是进行简单明了分辨的简洁美的表现活动。将礼义之统的辨别作用理论应用于艺术创造中便可表现最高水平的简洁美的审美境界。荀子将精力投入在已经完成或亟待完成的人类的文化当中，希望使其变成最理想的世界、最美好的世界。我们坚信他的愿望必将由人类的力量，即“礼”来实现。
乐论主要将重点放在个体人格的感化与社会的移风易俗上，特别是在批判墨子的非乐论上。“乐”对人类产生了很大的影响，它使人类快速变化。“乐”通过个人的人格修养带来幸福，使国家与社会对个人的幸福安宁产生深厚的影响。再者“乐”匡正天下，实现调和，求其根本，实现穷变。这是“乐”的审美的移风易俗作用。
礼义观念的审美境界区分为尽美致用的大神境界与美善相乐的功利境界。尽美致用的大神境界表现了人类全面征服和占有自然的状态，指出了只有人才是其所在世界的创造者。这种见解是坚信人的能力，将人类的文化能力发挥到极致的伟大的审美境界表现。美善相乐的功利境界是指“乐”给予的快乐成为了审美的功利境界。相乐则是指天下所有的人与美和善同乐。荀子判断其具备为公共服务的审美的功利性。
孟•荀美学思想是将孔子美学思想深化与展开的。可以说孟子美学思想具有仁义观念的内在德性美学的特征，而荀子美学思想则具有礼义观念的外在社会美学的特征。綜合的話, 先進儒家美學是人間美學, 具有願望涵養個人德性, 建設美麗的人間社会, 長處在最高審美的悅樂境界的特征.

목차 (Table of Contents)

• 目 次
• Ⅰ. 序 論·································································································1
• 1. 硏究目的과 意義················································································1
• 2. 硏究方法 및 範圍 ·············································································4
• Ⅱ. 先秦 儒家美學思想의 淵源과 人間美學···········································9
• 1. 審美本體로서의 仁義思想································································9
• 1) 仁의 本質的 意味··········································································9
• 2) 仁의 審美的 構造········································································19
• 3) 義와 直의 審美的 關係 ·······························································22
• 2. 審美活動으로서의 禮樂思想···························································27
• 1) 禮의 審美的 文飾活動··································································28
• 2) 樂의 審美的 和合活動··································································38
• 3. 審美理想으로서의 中庸思想···························································50
• 1) 中庸的 人格涵養의 說樂境界·························································56
• 2) 公私의 調和․統一的 中和境界························································66
• Ⅲ. 仁義觀念의 內在的 德性美學·························································71
• 1. 仁義觀念의 審美意識 構造····························································71
• 1) 天과 性의 審美構造····································································72
• (1) 天人合一的 審美觀··································································72
• (2) 性善論的 審美構造··································································78
• (3) 仁義之道的 審美尺度·······························································84
• 2) 善과 美의 審美關係·····································································92
• (1) 內的 充實條件으로서의 善························································92
• (2) 外的 發現條件으로서의 美······················································102
• 2. 仁義觀念의 審美活動···································································116
• 1) 審美意識의 集義的 培養活動·······················································116
• (1) 良心의 反求諸己的 審美意識 培養···········································117
• (2) 浩然之氣의 集義的 審美意識 培養···········································122
• 2) 審美意識의 行義的 擴充活動·······················································127
• (1) 四端之心의 尙志的 審美意識 擴充···········································128
• (2) 不忍之心의 直覺的 審美活動···················································132
• 3) 仁義觀念의 藝術論的 運用··························································135
• (1) 以意逆志論의 主觀的 運用······················································136
• (2) 知人論世論의 通時的 運用······················································138
• 3. 仁義觀念의 審美理想···································································140
• 1) 德性涵養의 說樂的 自由境界·······················································141
• 2) 物我合一의 同樂的 和諧境界·······················································148
• Ⅳ. 禮義觀念의 外在的 人間社會美學················································153
• 1. 禮義觀念의 心性論的 審美體系····················································153
• 1) 禮義와 性論의 審美體系·····························································153
• (1) 化性起僞的 審美意識 ····························································154
• (2) 全粹爲美的 審美標準 ····························································164
• 2) 禮義와 心論의 審美構造·····························································168
• (1) 徵知心의 審美的 主宰性·························································168
• (2) 心의 解蔽的 明澄構造····························································175
• (3) 心의 虛壹而靜的 淸明構造······················································179
• 2. 禮義觀念의 社會的 審美活動 ······················································182
• 1) 禮論의 審美的 調和作用·····························································184
• (1) 禮․禮義․禮樂의 本質的 相關關係···············································185
• (2) 禮義之統論의 審美的 辨別作用················································188
• (3) 禮義之道觀의 審美的 文飾作用················································194
• 2) 樂論의 審美的 社會敎化活動 ······················································200
• (1) 人格修養的 個體感化作用························································201
• (2) 移風易俗的 社會敎化作用························································207
• 3. 禮義觀念의 審美理想···································································213
• 1) 盡美致用的 大神境界··································································214
• 2) 美善相樂的 功利境界··································································220
• Ⅴ. 先秦 儒家美學思想의 綜合的 辨析···············································225
• 1. 審美意識의 根源的 辨析·····························································225
• 1) 義理天과 自然天········································································226
• 2) 仁義之道와 禮義之道··································································228
• 3) 性善과 性惡··············································································230
• 4) 良心과 徵知心···········································································232
• 2. 審美意識의 發現的 辨析······························································235
• 1) 充實美와 全粹美的 審美標準·······················································235
• 2) 擴充과 文飾的 審美活動 ····························································237
• 3) 說樂境界와 功利境界的 審美理想·················································241
• 3. 先秦以後의 美學思想에 대한 影響 ·············································244
• 1) 傳神과 氣韻生動의 美學에 대한 影響···········································244
• 2) 社會功利的 藝術觀에 대한 影響···················································248
• 3) 情景合一의 比德美學에 대한 影響················································250
• Ⅵ. 結 論 ····························································································257
• <參考文獻> ······················································································262
• <中文抄錄> ······················································································269