大美中国・中国古代审美文化史全8册电子版免费阅读|百度网盘下载

酆勇

2022-4-16

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小编点评：重拾我们自己的中国美学

走出盲从西方审美标准的恶性循环，重拾自己的中国美学。 中华大美·中国古代审美文化史共8卷。气息来了。文笔清晰，图文并茂，勾勒出历代审美文化史的演进轨迹。喜欢研究古代美学的朋友可以试试。

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大美中国·中国古代审美文化史全8卷电子版免费阅读

简介

“大美中国”系列梳理并构建了一部“不同于审美思想史和审美器物史的审美文化史”。 Today, when Western aesthetic values are popular, such a series of books that fully demonstrates my country's traditional aesthetic power is self-evident for getting out of the vicious circle of blindly following Western aesthetic standards and regaining our own Chinese aesthetic power.

★ "The Appearance of "God Beauty": Prehistory? Xia and Shang Scrolls: Shows the prehistoric era of the looming gods and the art of witchcraft during the Xia and Shang dynasties.

★ "Thinking Far Away: Two Weeks Volume": The humanistic style of Zhou Dynasty's ritual and music and the personality of the passionate aesthetics of the Warring States period are unfolded.

★ "The Wind Rises: The Qin and Han Volumes": The aesthetic thought of the Qin Empire's "hundred rivers returning to the sea" and the aesthetic transformation of the Han Dynasty from "sickness and vainness" to "useful for the world".

★ "Little as a Star: Wei and Jin Volumes": It shows the cultural statues of Wei and Jin detachment, the aesthetic idea of "inspiration", and the integration of ancient and modern north and south.

★ "The World's Clothes and Crowns: The Tang Dynasty Volume": Shows the renewing, magnificent and colorful aesthetic taste of the Tang Empire in Vientiane.

★ "Snow Like Snow When Opening: The Two Songs Volumes": Shows the aesthetic transformation of the two Song Dynasties from the gathering of humanities to the mourning of "remaining mountains and water".

★《Blossoms of Violet and Blossoms: The Yuan and Ming Scrolls》: Shows the aesthetic change from the exotic taste of elegance to the secular world in the Yuan and Ming Dynasties.

★《Twilight and Clouds in the Evening Sun: Qing Dynasty Volume》: Shows the aesthetic transformation of the Qing Dynasty from the elegant culture of the last generation to the dawn of modern aesthetics.

作者介绍

Chen Yan, Vice President of the Chinese Society of Aesthetics, Vice President of Shandong University, a famous scholar of aesthetics, and a distinguished professor of Changjiang Scholars.

Wang Xiaoshu is a professor at the School of Literature and Journalism and Communication of Shandong University, an adjunct professor at the Shandong University Literary Aesthetics Research Base, the director of the Institute of Classical Literature, and a doctoral tutor.

Liao Qun is a professor and master tutor at the School of Literature and Journalism and Communication of Shandong University.

Yi Pingce is a professor at the School of Literature and Journalism and Communication of Shandong University, a professor at the Center for Literature and Art Aesthetics of Shandong University, and the deputy director of the Institute of Literature and Art.

优秀的试读

As the Zhou Dynasty replaced the Shang Dynasty, a new cultural image completely different from the Yin-Shang mysticism gradually revealed its face.

It weakens theocracy and strengthens kingship. Transforming the god worship of Yin people with the concept of destiny, this made the Chinese civilization take the first step from theocracy to the rule of man. On this basis, the gods of the Zhou people have become rational and judgmental gods, and their aesthetics have also been elevated from the material level of loving food, singing and dancing to the spiritual level of loving good morals. As a result of this transformation, human beings have been pushed to the forefront of history invisibly.

Matching with this, the most representative of the cultural characteristics of the Zhou Dynasty, "Making Rites and Music" entered the stage of history. Various etiquette regulations, including sacrificial rituals, celebration rituals, and daily behavior norms, create a "happy" and peaceful cultural atmosphere, and at the same time, they also shape people's normal and restrained character. This is obviously a "gentle" cultural image that has stripped away the color of the witch god and made it more personal.

As a result, some changes occurred spontaneously: music, singing and dancing, which sang the praises of man-made efforts and success; the way of life, decorated with a formal and elegant demeanor; the bronze ritual utensils occupied by the ferocious beast pattern as the basic picture, today It was replaced with a large inscription with square, round and soft strokes. From the perspective of Huaxia's aesthetic ideal: Zhou wrote the "neutral" color of aesthetic culture on the first page of Huaxia's aesthetic theory. This is also the turning point and sign of the unique development path of Chinese aesthetic culture.

However, strictly speaking from a historical concept, the ritual and music culture created by the Zhou people as mentioned above is mainly reflected in the Western Zhou Dynasty to the middle of the Spring and Autumn Period, and the Chinese aesthetic trend in the late Eastern Zhou Dynasty began to change to the new cultural era of the Warring States Period.

This is an era that has experienced the collapse of rituals and music in the late Spring and Autumn Period and lost a unified discourse. Therefore, it is also an era of unfettered, enterprising and creative passion. Here, the history is written as "the winner, the hero, the loser and the thief".

Inherent etiquette and fixed stratum have been broken, disrupting people's peaceful and peaceful mind and life, and bringing more opportunities and desires. As a result, the aesthetic culture of the Warring States Period presented an unprecedented variety of grand occasions, which are mainly reflected in:

This is an era of unprecedented rationality and publicity, an era of independent thinking and creation of systems. "A hundred schools of thought contend", Confucianism, Mohism, Taoism, Ming, Fa, Yin-Yang, Agriculture, Vertical and Horizontal, Miscellaneous, Novel, etc., can be described as diverse schools, and a collection of thinkers, jointly creating a brilliant history of thought in the Spring and Autumn Period and the Warring States Period.

This is an era of great prose development. The unprecedented harvest of literature and writing has brought about the full maturity of prose art. Most of these essays highlight individual style, thus creating a rich and colorful landscape of Warring States literature.

This is an era that is more artistic than the function of ritual and music. The outspoken, capricious and exciting Xinle comes with irresistible charm, and only pays attention to how it sounds and looks good. As for sculpture, painting and arts and crafts, they have become more daily-use, life-like and interesting with the changes in aesthetic trends.

This is the Warring States Period. Freeing oneself is the theme of all its aesthetic culture.

In the northwest frontier of the Yin-Shang Empire, there was a tribe of Fang Kingdom that surrendered to it. The Yin-Shang monarch, who ruled the world at that time, probably never imagined that in the future his dynasty would be planted in the hands of this small Fang Kingdom, which was not very conspicuous. . The tribe that was later replaced by Yin and Shang was Zhou.

The Zhou people were once subordinates of the "big country Yin". Judging from the fact that they built the Yin-Shang ancestral temple in their capital and worshipped the ancestors of the Yin-Shang Dynasty, at least on the surface, they have always been obedient. Moreover, the Zhou people were once the pillars of the Yin people to deal with the Western Rong and Di. "Zhouyi·Weiji·Nine Fourth" states that "Zhen uses the method to cut ghosts, and rewards will be given to great powers in three years." Obviously, Zhou people were ordered by the king of Yin to cut ghosts. According to the ancient book "Bamboo Book Chronicles", this incident occurred during the time of the first emperor of Zhou's reign, the so-called "In the thirty-fourth year of Wuyi, the king of Zhou came to the dynasty, and in the thirty-fifth year, the king of Zhou attacked the Guirong in the West and captured the twenty King Zhai. "[1].

This shows that by the time of the season, the Zhou people had made great progress. Probably since then, on the one hand, the Zhou people had a relationship with the Yin and Shang Dala, including intermarriage with the eastern countries under the Yin and Shang; on the other hand, they secretly tried to expand their own territory. People have conquered Kunyi, Yu, Rui, Mi, Ruan, Gong, Chong and other tribes one after another, to the point of "one-third of the world has two", thus laying a solid foundation for King Wu's campaign against Zhou to destroy Yin and Shang in Muye's battle.基础。

The ability of the Zhou people to eventually replace the Yin and Shang is inseparable from the solid strength accumulated by generations of people, including the conquest and win over the tribes of various countries through military and political means; and the one that decides the fate of Yin and Zhou The outcome of the Battle of the Farm and Wilderness also depended to a large extent on the internal political factors of the Yin people. King Zhou of Yin has been in power for many years, and he has been arrogant and debauched, which has caused many dissatisfaction; killing the prince Bigan and imprisoning Jizi has only added fuel to the fire, and people's minds are left. It was at this juncture that King Wu of Zhou lost no time to meet with Muye, Shangjiao, but as a result, the master Yin, who was "like a forest", turned his back, and the people of Zhou drove straight in. The ancients said that the Zhou people in this campaign "had no head captives, no reward for their difficulties" ("Xunzi: Confucianism"), and the "non-resistance" of the soldiers of the Yin and Shang Dynasty actually made the Zhou warriors practice their skills without using martial arts. Land, lost the rare opportunity to make meritorious reward. Overnight, the Zhou people changed from vassals of the Yin-Shang Empire to lords of the Central Plains.

Compared with the great Yin and Shang kingdoms, which have a history of cultural development for hundreds of years, the foundation of the emerging "Xiaobang Zhou" culture was relatively weak at that time. It is said that the early Zhou culture, including writing, accepted the inherent achievements of Yin people. In recent years, most of the oracle bones unearthed in Zhouyuan, the birthplace of Zhou, are similar to the oracle bones of the Yin Ruins. It can be seen that the script written by the Yin people has long been widely recognized by the Zhou people. At the beginning of the Zhou Dynasty, the historian also came from Yin. In recent years, a group of bronze wares of the Wei family has been discovered. [2]。 Perhaps because the Yin people did not resist the entry of the Zhou people, and even more so out of the consideration of appeasing the people's hearts and eliminating resistance, Zhou did not take all measures to kill the conquered Yin people. Wu Geng, the son of King Zhou, entrusted the "Shou Shang Sacrifice" to rule over the homeland of King Ji of the Shang Dynasty of Yin. The tribes of the Yin people have been completely preserved.

面对这样一个庞大发达的已经有自己悠久文化传统的被征服民族，如何才能在中原站稳脚跟？又如何才能使人们心悦诚服地认可自己作为统治者的正统形象？这些都是周初统治者必须正视的现实问题。正是在这种必须面对现实的思考中，周人变得成熟起来。

首先，他们用天命观改造了殷人的至上神崇拜，这一宗教领域的观念更新，使他们迈出了从神治走向人治的第一步。

如上所述，周建国伊始面临许多问题。而在观念意识领域，首先要回答的便是他们作为“小邦周”凭什么取代了“大国殷”。那个庇护殷商、永保王命的“帝”和祖神又到哪里去了？周人在这场历史变故中已经看到，民心向背及统治者个人素质等人为因素对于殷周力量消长实际上起了很大作用。也就是说，天算不如人算，上帝赐福与否看来也因人而异。于是，他们首先拿殷人的宗教开了刀，偷梁换柱，形存实移，把那些血食成性、喜怒无常的大小神�o，塑造为更高一级的有理性的无限关怀下民的冥冥主宰――天，这位仁慈的天神总是选派那些德行好的人作为自己在下界的代理，周族君王正是得民心、善理政，才受到天神的青睐，以至于取代了殷商在中原的统治地位；而殷商统治者则因搞得众叛亲离，遂失去了天命的保佑，失去了君王的宝座。所谓殷人受天命“不其延”，“惟不敬厥德，乃早坠厥命”（《尚书・召诰》），说的正是这个意思。于是，这种天命观便成了周革殷命最好的理论说辞。周公对殷遗民就是这么说的：

非我小国敢弋殷命，惟天不畀允罔固乱；弼我；我其敢求位？惟帝不畀，惟我下民秉为，惟天明畏。（《尚书・多士》）

这里，周公十分“诚恳”地解释，并不是我们周人敢于颠覆殷的国运，而是上天不愿将天下给予那些冥顽乱国之人，所以转而辅弼我们周人；并不是我们周人一定要求取王位，只是上天不再把国运给予你们，这乃是因为我们的民众更能顺从教化。皇天上帝是要奖善惩恶的，所以周才能取殷而代之。就这样，周王的夺位变得天经地义，归于正统。

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目录

简介

作者介绍

优秀的试读