Options
劉勰《文心雕龍》與書論、畫論及樂論關係研究
Author(s)
Date Issued
2025
Publisher
香港: 香港樹仁大學
Description
300頁
Type
Thesis
Programme
PhD in Chinese
Abstract
劉勰文心雕龍成書於南齊末年,為南北朝時期文藝理論之傑構,其論貫通歷代,彌綸群言.學界研究多聚集於該書與儒佛道等思想的關係.然而,在中國文藝發展中,詩樂舞三者關係互為影響,密不可分,展現了藝術同源的特質.同時,古代文人除長於詩文,亦多工於書法繪畫及音樂.蓋因各種藝術理論與中國傳統文學理論的發展脈絡實是相互扣連,故探討文心雕龍不僅需關注思想文化層面,更應研究書論畫論及樂論對其影響,方能深入理解其文學理論與美學意涵.
本文以文心雕龍為研究主體,通過美學命題建立理論分析框架,將命題置放於圓環結構及多重周邊視角,使文學理論能在美學傳統中建構參照點.透過比較不同藝術理論,探究美學命題的形式與演變歷程,闡明各命題與藝術理論的關係,從而呈現文心雕龍與藝術理論之間的多層次美學關係,並藉此深化對魏晉南北朝文藝理論思潮的理解.
在緒論部分,本文提出跨學科研究的理論框架,用作系統化分析理論之間的連繫模式.本文選取六個具代表性的美學命題,按其性質分類,運用緒論提出的理論分析框架探討文心雕龍與書畫樂論的理論連結,集中闡述與藝術理論互動情況.
第一至三章將分為本體論創作論批評論三大範疇,合共對六個美學命題作探討.第一章,探討本體論中文以明道命題,以探討文學的傳遞和為文的審美原則;第二章,探討創作論中的創作流程,以意在筆先神與物游及心手相應研究當中的發生論營構論及傳達論;第三章是屬於批評論範疇的風清骨峻和即體成勢.各章節美學命題為核心,梳理關鍵文本中相關的理論意涵,再探討相關概念在書畫樂論等衍生文本中的演變,藉以闡明文心雕龍與藝術理論的互動,有助正確理解文心雕龍的理論內容.結論部分歸納各章內容,概述理論間的互動關係及其發展脈絡.
Liu Xie’s Wenxin Diaolong, completed in the late Southern Qi period, represents a cornerstone of literary and aesthetic theory during the Southern and Northern Dynasties. While existing scholarship has extensively examined its engagement with Confucian, Buddhist, and Daoist philosophies, this dissertation argues for a broader interdisciplinary approach, emphasizing the interconnected development of Chinese literary and artistic traditions. Specifically, it investigates the mutual influences among poetry, music, and dance, as well as the literati’s proficiency in calligraphy, painting, and music, to elucidate the aesthetic interplay between Wenxin Diaolong and contemporaneous theories of calligraphy, painting, and music. Adopting a rigorous theoretical framework anchored in six carefully selected aesthetic propositions, this study employs a circular analytical structure and multi-perspectival lenses to establish reference points within the broader aesthetic tradition. These propositions are systematically categorized into three domains—ontology, creative theory, and criticism—and explored across three chapters. Chapter 1 examines the ontological proposition “literature illuminates the Way” to analyze literature’s aesthetic and didactic roles. Chapter 2 investigates creative processes through the propositions “intention precedes the brush,” “spirit roams with objects,” and “mind and hand in harmony,” addressing issues of ideation, composition, and expression. Chapter 3 focuses on critical propositions “clear style and robust structure” and “form shapes momentum,” evaluating aesthetic judgment and textual dynamics. Through comparative analysis of primary and derivative texts, this dissertation delineates the evolution and interplay of these propositions across artistic discourses, revealing the multifaceted aesthetic relationships between Wenxin Diaolong and related theories. By synthesizing these findings, the study offers a comprehensive reassessment of Wei-Jin and Southern-Northern Dynasties’ literary and aesthetic thought, contributing significantly to the understanding of Chinese intellectual history.
Liu Xie’s Wenxin Diaolong, completed in the late Southern Qi period, represents a cornerstone of literary and aesthetic theory during the Southern and Northern Dynasties. While existing scholarship has extensively examined its engagement with Confucian, Buddhist, and Daoist philosophies, this dissertation argues for a broader interdisciplinary approach, emphasizing the interconnected development of Chinese literary and artistic traditions. Specifically, it investigates the mutual influences among poetry, music, and dance, as well as the literati’s proficiency in calligraphy, painting, and music, to elucidate the aesthetic interplay between Wenxin Diaolong and contemporaneous theories of calligraphy, painting, and music. Adopting a rigorous theoretical framework anchored in six carefully selected aesthetic propositions, this study employs a circular analytical structure and multi-perspectival lenses to establish reference points within the broader aesthetic tradition. These propositions are systematically categorized into three domains—ontology, creative theory, and criticism—and explored across three chapters. Chapter 1 examines the ontological proposition “literature illuminates the Way” to analyze literature’s aesthetic and didactic roles. Chapter 2 investigates creative processes through the propositions “intention precedes the brush,” “spirit roams with objects,” and “mind and hand in harmony,” addressing issues of ideation, composition, and expression. Chapter 3 focuses on critical propositions “clear style and robust structure” and “form shapes momentum,” evaluating aesthetic judgment and textual dynamics. Through comparative analysis of primary and derivative texts, this dissertation delineates the evolution and interplay of these propositions across artistic discourses, revealing the multifaceted aesthetic relationships between Wenxin Diaolong and related theories. By synthesizing these findings, the study offers a comprehensive reassessment of Wei-Jin and Southern-Northern Dynasties’ literary and aesthetic thought, contributing significantly to the understanding of Chinese intellectual history.
File(s)
Name
181801D.pdf
Size
4.94 MB
Format
Adobe PDF
Checksum
(not present)
(MD5):284dcde3fbe23054696faf8b8845f71c
Availability at HKSYU Library
