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從鄭玄與朱熹注「繪事後素」探討孔子的文質觀與人格美學=Examining Confucian's Concept on Form and Quality and Human Aesthetic from Zheng Xuan and Zhu Xi's Takes on the Theory "The paintwork is executed on top of the white background"
Author 孔令宜 (著)=Kung, Lin-yi (au.)
Source 夏荊山藝術論衡=Journal of Xia Jing Shan's Art
Volumen.5
Date2018.03
Pages51 - 72
Publisher財團法人夏荊山文化藝術基金會
Publisher Url http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
Location臺北市, 臺灣 [Taipei shih, Taiwan]
Content type期刊論文=Journal Article
Language中文=Chinese
Note作者為淡江大學中文系兼任講師
Keyword孔子=Confucius; 仁=Ren; 禮=Li; 論語=Confucian Analects; 鄭玄=Zheng Xuan; 朱熹=Zhu Xi; 人格美學; Humanistic Religion; Confucian Aesthetic
Abstract 在《論語.八佾》中,孔子談論「繪事後素」的問題,漢儒鄭玄與宋儒朱熹分別為之作注。漢儒鄭玄注,偏於荀子隆禮的系統;宋儒朱熹注,偏於孟子性善的系統,兩者進路雖有不同,但均欲成就聖人之教。曾昭旭在《良心教與人文教》一書闡明儒學的宗教面向,〈從仁道論儒家對終極的體現〉一文闡釋良心教與人文教是仁道的兩端,筆者本文探討儒家人文教之中的仁學人格論美學。本文試圖以鄭玄與朱熹對「繪事後素」切入點的不同,重新探討文與質在孔子思想中本末與體用的關係,並經由文與質的綰合,塑造出孔子心目中完美的人格為討論的主軸。現代學術論文關於「繪事後素」問題的討論,多是以美學為觀點,遺忘「繪事後素」的美學問題本來所具有的漢學與宋學的解經學的詮釋不同進路。其實,孔子「繪事後素」的美學思想預設是其思想之中仁學的人格論。本文的意義在於「繪事後素」的美學問題,本來所具有的漢學與宋學的解經學的進路之詮釋衝突之釐清,筆者闡明「繪事後素」預設仁學的人格論,以本末體用的思維關懷之,此一仁學的人格論乃至於蘊涵仁學本體論。以此觀之,漢學與宋學的解經學的詮
釋不同進路,其實是殊途而同歸,同歸於仁學的人格論。

“Book Pa Yih” in the Analects by Confucius discusses the theory, “The paintwork is executed on top of the white background.” This article tackles the conflicts of interpretations between Zheng Xuan of Han dynasty and Zhu Xi of Song dynasty on this text. Zheng Xuan followed the system of ritualism by Xunzi, and Zhu Xi preferred Mencius’ theory of human good nature. Although the two differed in their practices, they, nevertheless, were both accomplished in the teachings of the sages. The book, Conscience Teaching and Humanistic Teaching, by Zeng Zhao-Xu examines the religious aspects in Confucianism, and the essay,From Ren Dao to Reflect on The Ultimate Manifestation of Confucianism, explains that conscience teaching and humanistic teaching sit at the two ends of ren dao (or human way).This paper explores the aesthetic dealt with in the concept of ren dao found in Confucianism’s humanistic teaching. Seeking to depart from Zheng Xuan and Zhu Xi’s different takes on the theory: “The paintwork is executed on top of the white background”,this paper attempts to reexamine the relationship of benmo (end and means) and tiyong (the form and function) dealt with in Confucianism within the context of form and quality.
Through the coupling of form and quality, the ideal personality in Confucianism makes up the core discussion of this paper. Many modern academic papers have dealt with the issues presented in “The paintwork is executed on top of the white background” from the perspective of aesthetics, but have neglected to consider that the aesthetic issues in this theory were originally interpreted differently in the exegesis found in Han and Song dynasties. The philosophical assumption with aestheticism found in Confucius’s teaching with this notion of “The paintwork is executed on top of the white background” centers around his personality theory on the teachings of ren. The purpose of this paper deals with the aesthetical issues in the theory of “The paintwork is executed on top of the white background”, with the interpretive differences found in the exegesis conduced in Han and Song dynasties clarified,arguing that a personality theory based on ren is predetermined in the concept, with the ideas of benmo and tiyong applied. This take on the personality theory based on ren is embodied in the ontology of ren. Bearing this in mind, Han and Song dynasties’ exegesis interpretive differences, though different, were seeking to reach the same destination, as they both fall into the personality theory of ren.
Table of contents一、前言 54
二、禮文為重與素質為先的詮釋進路 54
(一) 鄭玄注 55
(二) 朱熹注 55
三、孔門儒學人文教的仁學人格論 60
(一) 質與文 61
(二) 文與美 63
四、結論 69

ISSN24126233 (P)
Hits29
Created date2018.09.04
Modified date2020.06.16



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