【陸紀君】董仲舒“吉祥一包養網心得”思惟的美學詮釋

Keywords: Dong Zhongshu; auspiciousness; a response from heaven and man; Han Dynasty aesthetics

“Auspiciousness”, in related literature, is also called “fu Rui”, “玉全”, “大全”, etc., which mainly refers to “the unique objects directly presented in nature” [1]553, which is “the experience and good fortune of modern emperors who inherited the destiny and governed with virtue” [2], such as “the stars of the ages and prosperity” [a href=”http://twlovediary.com/”>全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全全� Among them, there are both natural ingredients and super natural ingredients. Based on the rational dimension, “auspiciousness” has a certain aesthetic space. However, because of the actual utilitarian color that “auspicious” itself possesses, it is also included in the political philosophy system as an explanation of the theoretical system of “response to heaven and man”. Therefore, in the past, the viewers often regarded “auspiciousness” as a vassal or even a scientific body of politics, and their own aesthetic value was therefore ignored under the modern aesthetic dimension that “appreciating beauty without short-term and length” dominates.

1. The inner reflection of “auspicious” aesthetic meaning

“auspicious” thinkingThe origin of this can be traced from the beginning of the Chinese civilization, that is, the “River’s Pictures, Luo’s Books” period [1]552. Generally speaking, the “Hepao” is implicated by “Dragon Ma”, and the “Luo Book” is backed by “Shengren”. The two “special objects” of “Dragon Ma” and “Shengren” become the late appearance of “auspiciousness”. This civilization with the origin of the secret-like color is laid the foundation for later generations to discuss “auspiciousness”, namely the intersection of nature and supernatural. “Shang Shu·Yi Ji” says: “There is 90% of the sacred Shao, and the sacred Emperor comes to the sacred Emperor.” [3]129 The “Bihuang” here is also a kind of “auspicious” object. Their direct appearance is because of playing the music of “Shao”, and “Shao” is also the music of Shun, so the most basic principle is because Emperor Shun is virtuous in governing, which is consistent with the Confucianism’s view of “the way of sound and political communication”. Moreover, Confucius was also moved: “If the birds do not arrive, the river does not come out, I am gone!” [4] This is Confucius’ use of “auspicious” objects to express his own anxiety about the current political situation at that time.

Since the beginning of Wuhan, people’s recording of “auspiciousness” has gradually become systematic. In Sima, there is “When the country is happy, there must be good fortune, and the gentleman will retreat”[5]1595. Based on this, there are many historical books of ancient times led by “Shi Ji”, such as when Emperor Guangwu Liu Xiu was born, “there was Jiahe in the county, with nine ears locked, and it was called Guangwu and Xiu”[6]. When it comes to Dong Zhongshu, he explained “auspiciousness” as “it is not something that can be achieved by force” [7] 157. The previous fragmented “auspiciousness” thoughts received a systematic statement here: “The kings who are entrustful to the heavens must have something that cannot be achieved by humans. This is a talisman for the delegation of destiny. People all over the country are keen to think of it, if they are parents, so the heavens are auspicious. He should come with sincerity. The Book says, ‘White fish enters the king’s boat, and fire retracts the king’s house, and flows into turtles’, which is the talisman for the corpse to give the destiny. Zhou Duke said, ‘How revival is,’ and Confucius said, ‘The virtue is not lonely, there must be a border’, which are all effective in mercy of good virtues. ‘[8] 1902 Obviously, “auspiciousness” has become the explanation of Dong Zhongshu’s philosophical system of “responsiveness of heaven and man”.

As mentioned earlier, “auspiciousness” is “a special object directly presented in nature.” Therefore, the natural “auspiciousness” is different from the humanistic “painting” and “talisman”. The latter two have more or less the properties of artificial drawings, so they also have the ability to aesthetically illuminate. Of course, “auspiciousness”, “graphic” and “talisman” are united in the system of Han Dynasty’s spiritual theology. They are all rational signs of modern emperors’ missions and virtue in governing. As Master Zhu Cunming said: “The content of the novel is imaginary, and its emotions are beautiful.”[9] However, compared with “pictures” and “talismans”, the natural characteristics of “auspiciousness” are Baobao.comIt has a unique and strong natural rationality. Although it has the dual meaning of “abstract” and “symbol”, the former precedes the latter, or perhaps, “auspiciousness” begins with The aesthetic is then political, which contains the sacred way of Chinese predecessors using the aesthetics to master the world.

“Auspiciousness” is a direct natural object, and the beginning is rational. For example, “Jiahe”, Su Xu quoted “White Tiger Tongyi” to interpret it as “big healing”: “The same ear, the car is filled with several cars and the boxes are filled with several boxes. ”[7]102-103 Obviously, as a “special image directly presented in nature”, “Jiahe” begins with the close object surrounding people’s surroundings during daily agricultural production, and then it also contains people’s wonderful expectations for harvest. For example, “Jingxing”, Xu Shen’s “Shiwenjiezi” interprets “jing” as “light”, and Duan Yucai’s notes say: “Light is far away and there is a turmoil in others… it is also bright… it is big. ”[10] The History Records interprets “Jingxing” as “Dexing”. Han Shu” explains a step-by-step explanation on the basis of the Female College Students’ Nursing Club: “Jingxing is the virtue star, its state is unpredictable and often comes from a country with Taoism. ”[8]1065 It can be seen that “Scenery Star” starts with a bright star located far above the farmer, and then it is a realistic symbol of the monarch’s virtues and goodness. In essence, “auspiciousness” arises from the rational object that the senses can achieve, and is a comprehensive body of “beauty” and “goodness”.

In addition, “auspiciousness” also touches the basic way for Chinese predecessors to understand the world – up and down and observing, and approaching. As Master Zong Baihua said: “Precisely and approaching, approaching, approaching, approaching, and observing, is the way of Chinese fools and the way of viewing. ”[11] This is a rational spatial thinking, a kind of simplicity from the “small universe” to the “big universe”. Thinkers represented by Dong Zhongshu choose the objects of beauty through this recognition method precipitated by “collective indecision”, which is called. As the symbol of virtue of the monarch, “au