摘要
先秦青铜器进入美学视野,是先秦美学从文本解读到器物研究的逻辑演进。作为审美活动的物化形式,先秦青铜器的制作与使用在人神同构的意义系统中呈现出“交于神明”与“大象其生”两种逻辑形态。它们彼此分界又相互联结,定义并不断形塑审美主体的精神内涵与美学品质。周革殷命,神力与王权在“天命”的框架下得以重构,原先作为隐性力量的王权逐渐取代神力成为形塑青铜器审美向度的显性力量。人神关系的变动以及由此生成的天命“在德不在鼎”的话语建构,不仅意味着青铜器自身历史使命的终结,同时也构成了先秦诸子美学对天人关系重新思考和追问的思想背景。
The study on Pre-Qin bronzes aesthetics is the logical evolution of Pre-Qin aesthetics from the interpretation of texts to the study of objects.As an artifact form of aesthetic activity,within a meaning system of the isomorphism of human and gods,the production and use of Pre-Qin bronzes took on two logical forms:“communication with gods”and“decorating the dead as they were when they were alive”.They are both delimited and interlinked,that defining and constantly shaping the spiritual connotations and aesthetic qualities of the aesthetic subject.When the Zhou Dynasty overthrew the Shang Dynasty,the divine power and kingship were reconfigured within the framework of the“Mandate of Heaven”,and the kingship previously as a recessive force had gradually replaced the divine power to become the explicit force shaping the aesthetic orientation of bronzes.The change of the relationship between human and gods,and the discourse reconstruction of the“Mandate of Heaven depending on virtues but not on bronzes”,not only meant the end of the historical mission of bronzes,but also formed the ideological background against which the Pre-Qin aesthetics rethought and questioned the relationship between Heaven and man.
作者
黄厚明
HUANG Houming(School of Arts,Nanjing University,Nanjing 210093,China)
出处
《北京师范大学学报（社会科学版）》
CSSCI
北大核心
2023年第3期119-129,共11页
Journal of Beijing Normal University(Social Sciences)
基金
国家社会科学基金艺术学重大项目“中国艺术考古资料整理与研究”(21ZD09)。
关键词
先秦青铜器
神力
王权
民欲
先秦美学
Pre-Qin bronzes
divine power
kingship
wishes of the people
Pre-Qin aesthetics
