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本文阐述了项穆“中和”思想渊源及其成因。儒家“中庸”思想为项穆“中和”思想提供了哲理依据,而阳明心学作为当时的一种社会思潮,亦影响着书法艺术的发展与审美风尚的变革。在明代,理学式微而伴之心学崛起的特定背景下,项穆提出“中和”审美思想,既是对儒家“中庸”思想的维护,又是对晚明“尚奇”书风的反叛。既具有历史必然性,又具有偶然性。尽管这一思想对后世影响很大,但在当代文化语境下我们应辩证看待这一思想,积极之处有可资借鉴的意义,消极之处还要视具体情况做深入考察。
This essay expounds the origin and causes of Xiang Mu ’s “Zhonghe ”. Confucianism and Doctrine of the Doctrine of the Mean provide the philosophical foundation for the thought of “neutralization”, while Yangming psychology as a kind of social ideological trend at the time also affects the development of calligraphy art and the change of aesthetic style. Under the specific background of the rise of the psychology of micro-companion in the Ming Dynasty, Xiang Mu proposed the aesthetic thought of “neutralization” not only for the Confucian “doctrine of the mean” and for the late Ming Book style rebel. Both historic necessity, but also by chance. Although this idea has a great influence on future generations, we should take a dialectical view of this idea in the context of contemporary culture. The positive points can be used for reference, and the negative points should be further investigated on a case-by-case basis.