黃光男Kuang-Nan Huang林鈺鈴Chueh-Ling Lin2020-12-102003-07-012020-12-10http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%2283NTNU0233010%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114018本論文壹冊，約十萬餘言，前後分為七章，二十節。 第一章「緒論」，旨在說明東坡是中國藝術精神領域中的傑出代表，故 此引發筆者之研究動機，並希望透過本文之研究，掌握東坡思想，以促 進現代人生活與藝術創作，兼有質與量同時遞嬗飛躍之目的。在研究資 料上是以東坡文藝實踐，創作理論，社會文化等作為建構東坡美學思想 體系的三大範疇：實存意義層、創造意義層和實現意義層。並應用歷史 研究法、理論分析法、綜合法、直觀法、比較法與圖解法等來解剖、檢 證東坡美學思想，以張顯本文之信度與效度。 第二章「北宋社會文化環境與美學開展」，旨在全面性、概略性地考察 影響東坡美學思想形成、發展之社會景觀與文化環境等因素。 第三章「蘇東坡美學思想探源」，旨在考察東坡美學思想之整體內涵及 特殊審美性格成因，以運動內化於東坡生命主體之儒、釋、道文化意識 、理學思潮與才學敦厚之審美意識，作為尋溯根源的著力點。 第四章「蘇東坡審美主題」，旨在考察東坡美學思想體系中的理想主題 ，就自然與理趣；平淡與清新；意境與神韻等來分析研究，以闡明其所 以作為審美規準之特質。 第五章「蘇東坡藝術造詣」，旨在考察東坡詩詞、文章、書畫等具體創 作理念、特徵、審美價值觀與其美學思想體系間高相關之脈絡，並進一 步分析其影響性與前瞻性。 第六章「蘇東坡美學思想與現代意義」，旨在闡明將東坡美學思想化作 當代人生活與藝術創作實質之發酵劑，就其與美學思想落實、與美術教 育、與現代美術三個側面間之交互作用，綰結陶養成一堅韌活潑之審美 完型，歷久而彌新。 第七章「結論」，證述了東坡美學思想及其現代意義。就虛實相生、相 因相恃來揭櫫本文之研究深度與具體成果，並針對現代人在面對西方文 化價值沖擊下，所產生的文化迷思，指出文化價值沈澱之向上一路，換 言之，東坡「應變」之審美張力乃是東方美學思想文化特質之輝揚，是 超越時空限制，亙古迤邐的東方藝術精神，故此，本文之研究將作為來 日博士論文「陶淵明、蘇東坡美學思想比較及其在東西方美術創作上之 因素分析」研究之起步。 至若本文之創見，前人未曾論及者，厥為數端： 從東坡寖淫的中國哲學系統思維切入，並注重以東坡的作品為直接推 論的材料，再創出解讀東坡美學思想的圖構或模型，每一章之始，都以 「圖構」來展開，此「圖構」乃是理解東坡美學思想及其現代意義的基 本籌碼，是本文之研究基模。 在資料演繹歸納下，將東坡美學思想建塑出新格局：就實存意義層而 言是一砂一世界的時間觀照；就創造意義層而言是一花一天國、一掌一 無限的空間觀照；就實現意義層而言是一剎一永恒的古今時空觀照。 以東坡美學思想的超越質地嵌入現代人之生活實質，作為筆者「成一 家之言」的確義，因此是問渠(現代人) 那得清如許？為有源頭活水（ 東坡美學思想) 來的表現；是「拿古人思想作今人生活的真實」；是古 今照顏色。 以上幾點為本文之特殊創見，姑不論精確與否，大抵為前人所未曾 論及，詳細內容，則請閱讀本文上列之章節。 This Study consists of seven chapters in which are divided into twenty parts altogether, amount to approximately 100,000 words or so. The first chapter is a brief explanation: Su Shi, who has the greatest artistic temperament in Chinese Art history, wiht an introduction and a description of his aesthetics and metap- hysics. Chapter Two gives a general overview of culture and envir- onment during the Northern Song in which Su Shi lived. With an age for a background, Su Tungpo made himself intellectual and artistic. Chapter Three traces the philosophical evolution of Orie- ntal ideas of Confucianism, Buddhism, Daoism and Neo-Confuci- anism. Su Shi, being based on these philosophical thoughts, cultivated himself as an aesthete. Chapter Four explores the style of Tung-po's art works(p- oetry, compositions, calligraphy and paintings) in detail. From Tung Po's art works we can trace some of the aesthetic and met- aphysical links between the style, ideas and imagery. His family influences, Buddhist and Taoist friends and teachers all served as inspiration and confirmation for his creation. Chaper five presents Tung Po's Aesthetic themes (nature, soul and essential harmony "[shen]神and [yun]韻", aesthetic t- aste and image "[ching chieh]境界and [yihsiang]意象", refresh- ing style and plainess and so on), which are his aesthetic cor- es, and will be elucidated as complete as possible, and they constitue the very significance of his Aesthetics. Chapter Six is a discussion about the revelation of Tung Po's Aesthetic thoughts toward modern life. That is: the embo- diment of Tung Po's Aesthetic into actions (art instruction, art criticism and art creation and so on), only this revelation is well understood and applied, could we catch the modernity of Tung Po's Aesthetics. The conclusion integrates all dimensions of the influence of Su Tung-po's Aesthetics and its modernity. This study, based on above analysis, focuses on three vi- ewpoints which vary to my predecessors and are original. These different aspects are as following: This study attempts to elucidate the context with diagrams-- namely, each diagram as a scheme affords a distinct outlook on the dissertation. This study has suggestedd three levels of meaning: The ontological or existential meaning: To see " the world in a grain of sand ". The creative meaning: To see " a heaven in a wild flower " and to " hold infinity in the palm of your hand ". The phenomenological or consummate meaning: The " eternity in an hour ". From ancient to modern time, the outstanding Tung Po not only sets a good example for us but also inspires us to have qualit- ative thinking, aesthetic problem solving the mode of qualitat- ive intelligence and so on. Hence, Tung Po has created a unique style that belongs not only to the ancient or modern time ,to the East or the West, but also to the whole world. Tung Po has created an instance of immanent beauty. This Study consists of seven chapters in which are divided蘇東坡美學思想現代意義Su Tung-poAestheticsModernity