Comparison of the aesthetic thoughts of Confucius, Mencius, Lao and Zhuangzi
Confucianism and Taoism focus on life and do not intend to discuss beauty. Their aesthetic thoughts all come from the aesthetic philosophy of life. Therefore, to discuss Confucian and Taoist aesthetics is to discuss its philosophy, that is, to discuss its outlook on life.
1. The teachings of Confucius and Mencius take "benevolence" as the foundation, and "becoming benevolent" is its ideal; Lao Zhuang's words take "Tao" as the sect, and "tao" is its destination. There are many differences in the original purposes of the two families. The former sages have the theory of governing the world and the body, and Shi Yan has the judgment of entering the world and transcending the world. They all use the law to naturally clarify the two realms. The difference in aesthetic spirit is nothing more than this, because first there is the view of life realm and then there is the aesthetic theory of art.
1. Joy of beauty and kindness and the true beauty of nature
Confucius said about music, "It is called "Shao", 'It is perfect, and it is also good.' It is called "Wu", 'It is perfect. It is beautiful, but it is not perfect'" ("The Analects of Confucius. Ba Yi"). The reason is that "Shao" is about Yao and Shun's concessions and virtues, while "Wu" is about King Wu's conquests and his strength. This theory of beauty, goodness, and happiness comes from his thoughts of benevolence. Benevolence is the integration of inner emotions and external ethics. The benevolence of internal and external coordination is the foundation of "propriety" and "happiness". "What are the rituals and gifts, jade and silk? What are the clouds and music, what are the bells and drums?" ("The Analects of Confucius. Yang Huo") The spirit of benevolence is concentrated in the arts, which is not only to please people's ears and eyes, but also to entertain people's emotions. It should also be used to inspire kindness and conscience in a subtle way.
Zi Yun: "Inspired by poetry, established in etiquette, and achieved in music." ("The Analects of Confucius. Tai Bo") "Le" refers to the art of music, which combines the formal beauty of pleasing temperament and the ability to inspire will. Kindness, virtue and beauty. "Being in music" is the state of spiritual intoxication, pure transcendence and freedom. 1. Confucius listened to "Shao" in Qi, and in three months he did not know the taste of meat. His whole life was artistic and moralized by music, and he was immersed in the realm of unity of beauty and goodness. Si music infects the soul and inspires benevolence, so that everyone's inherent conscience fills the body and mind, and one can become benevolent with a single thought. Ziyun said: "I want to be benevolent, and this is the most benevolent thing." ("The Analects of Confucius. Shuer") He also said: "Being benevolent depends on oneself, but not on others?" ("The Analects of Confucius. Yan Yuan") What a sincere statement!
Mencius said: "Reason and righteousness please my heart, just as the cud of grass pleases my mouth." ("Mencius. Gaozi 1") was the first time in the history of Chinese aesthetics that benevolence was given aesthetic value. Treat goodness as beauty, and unite beauty and goodness. This goodness is true, glorious, brilliant and magnificent; this beauty is full of benevolence, transcendent and perfect. Beauty, goodness, and happiness are achieved to the extreme. The continuous inheritance of Confucian aesthetics in later generations does not violate this fundamental.
The philosophy of Lao and Zhuang is based on "Tao". The seventy-three views of "Tao" in the Tao Te Ching are based on the ontology of the universe. The book "Tao" in "Zhuangzi" has three hundred and twenty chapters, and the realm of freedom is the highest. The teachings of Lao and Zhuang are in the same vein, but their differences are clearly evident. Lao Tzu re-thinks and re-knows, preferring to think about the infinite and eternal Tao; Zhuangzi re-regards practicing and cultivating, preferring that those who have achieved the Tao will be free and transcendent in spirit. Xu Fuguan said that Lao Dan's Tao uses speculation to unfold the philosophical system of the universe, and its metaphysical significance is extremely significant; Zhuang Zhou's Tao uses Kung Fu to realize the transcendent realm of life, and its artistic spirit is even more evident. 2. "Tao" in Laozi is the metaphysical origin of the universe. It is the door of all wonders and the mother of all things, so Lao Tzu prefers to understand and think about this great source. "To the extreme of emptiness, keep quiet and sincere, all things are working together, and I will observe the recovery. All things return to their roots. Returning to the roots is called tranquility. This is called returning to life. Returning to life is called constant. Knowing the constant is called Ming." ("Laozi. 10") "Chapter 6") Only by quietly observing and returning to the roots, can we know that we are always in harmony with the Tao and that our body is not in danger. "Tao" in Zhuangzi is a transcendent and free life experience, so Zhuangzi prefers to realize and practice this realm of life. From the external world, external things arise, the dynasty is clear, and the view is unique, without the past and present, to "enter the realm of immortality and non-rebirth" ("Zhuangzi. Great Master"), feel free and carefree, and have no discomfort.
Different from the moral realm achieved by Confucius and Mencius, what Lao Zhuang achieved is a metaphysical realm and a realm of artistic freedom. Lao Dan abandoned beauty, "Five colors blind, five tones deafen" ("Laozi. Chapter 12"). Sounds and colors are all sensual pleasures, pretentious and distorted pseudo-beauty. Indulging in them only confuses the original mind. "The big sound is loud, but the elephant is invisible" ("Laozi. Forty-one Chapter"), which can be compared with Zhuang Zhou's theory that there is no happiness in the world.
Zhuang Zhou regarded inaction and indifference as the virtue of heaven, and praised "the great beauty of heaven and earth without mentioning it" ("Zhuangzi. Zhibei Journey"), "simple and simple, but no one in the world can compete with it for beauty" ("Zhuangzi.
The hair is all in the middle, the emotion is righteous, and there is nothing surly, so it is called harmony. ” 4 When talking about temperament, it is called neutrality, and when talking about virtue, it is called moderation. Moderation is the fundamental principle of ethics, and moderation is the highest standard of aesthetics. Confucius “is gentle but sharp, mighty but not fierce, respectful but peaceful” "("The Analects of Confucius. Shuer")'s personality is the perfect achievement of the golden mean and the highest virtue, while the art of "Guan Sui" is "joyful but not obscene, sad but not sad" ("The Analects of Confucius. Eight Hundreds"), which belongs to Zhonghe. The perfect embodiment of great beauty, "neutral" and "moderate" are all based on the principle of adhering to the right and harmonious unity.
Confucian aesthetics regulates emotional activities with moral principles. The purpose of Taoist aesthetics is to resolve contradictions and conflicts through moderation. It pursues natural inaction and freedom, so that natural nature can be freely realized. Therefore, it advocates "harmony with heaven and earth" ("Zhuangzi. The Way of Heaven"), allowing one to indulge one's will. The truth is to swim with all things in heaven and earth, "harmony is the most precious thing, floating in the ancestor of all things" ("Zhuangzi. Mountain Trees"). This beauty of heaven and harmony is both transcendent and immanent. . From this great beauty, later generations are divided into two branches, one is plain and harmonious, and the other is unrestrained and unrestrained. The former is restrained and the latter is exaggerated.
There are many differences in Confucian and Taoist aesthetics. Others, such as aesthetic consciousness focusing on the difference between internal laws and external constraints, aesthetic attitude focusing on the difference between educational function and transcending utilitarianism, the difference between yin and yang, hardness and softness, virtuality and solidity, movement and stillness in the form and style of beauty, etc., will not be elaborated here.
2. Confucianism and Taoism are complementary, and the two aesthetics can also be integrated. The two mainstreams of Chinese aesthetics are similar but different, and they cannot be judged as superior or inferior, so they are obsessed with each other. , falsehood arises; if we look deeply into the background, what is the difference between Confucianism and Taoism?
1. Aesthetic essence: spiritual contemplation
Humanistic aesthetics is the essence of pre-Qin Confucianism and Taoism. Yes. Observing things means observing oneself. When the mind wanders with things and the mind wanders with things, the mind and objects go back and forth, and feelings are intertwined. "Emotions come and go like gifts." Such an answer" ("Wen Xin Diao Long. Wu Se"). The characteristic of traditional aesthetics is the appreciation and observation of personality, spirit and life feelings. This is no different in Confucian and Taoist aesthetics.
Zi Said: "When the year is cold, you will know that the pines and cypresses will wither. "("The Analects of Confucius. Zihan") praises the pines and cypresses for their steadfastness in the frost, which is nothing less than the master's own way. Zhu Zi said, "The wise are happy with water, and the benevolent are happy with mountains." ("The Analects of Confucius. Yongye") said: "The wise are able to understand the principles of affairs and flow around without stagnation. It is like water, so it is happy in water; a benevolent person is content with the principles and is thick and does not move; it is like a mountain, so it is happy in mountain. "6 The wise person's wisdom is round and round, like the clear water of water, leaping endlessly; the benevolent person is benevolent and generous, like the towering mountains and endless stretches. Therefore, Master used mountains and rivers as a metaphor for the sense of nature. Mencius also took the idea that flowing water never stops day and night, and has its roots. It is an inexhaustible metaphor for the lofty virtues and profound knowledge of a gentleman ("Mencius. Li Lou Xia"). Confucius and Mencius "compared virtues" and devoted their personal spirit to objects. Things and self blend together endlessly, and they open up the spirit of virtue through enlightenment and enlightenment. It is connected with the realm of art.
It is connected with the Confucian "virtue follows nature" and the Taoist treatise "Tao follows nature". This is nature under the observation of the subject's spirit, which has been deeply immersed in the subject's wishes and ideals. Therefore, Laozi. On the unkindness of heaven and earth ("Laozi. Five Chapters"), Zhuangzi said that the heaven and earth are beautiful and the laws of the four seasons are clear ("Zhuangzi. Zhibeiyou"), all of which endow all things in the world with their ideal personalities, and the way of heaven naturally has its own subjective color. To standardize human nature, correct pretense, and make people follow the law and not violate it. Its principles are no different from Confucius and Mencius. They are all aesthetic reflections of the ideal personality that one pursues. In terms of form, it is expressed in the appreciation and understanding of the universe.
Qian Zhongshu said: "When I linger in the scenery, things see me, just like I contain things, and my body is connected with different natures." The relationship between things and myself has not been lost, but the feelings between things and myself have become intimate. The relationship is not lost, the old things are still outside me, and I can face them and appreciate them; the feelings have become intimate, and the old things are like my heart, and I can blend with them. "A few words reveal the essence of the spirit of traditional Chinese aesthetics. Although the shapes are different, the taste is actually the same, and the meaning is not lost. The key to the integration of Confucianism and Taoism aesthetics is revealed.
2. Aesthetic method: In the aesthetic process of intuitive perception, the subject is among all things, looking up, observing, and accepting. The aesthetic method is inseparable from intuitive perception. Mencius used the eye as a metaphor to express the relationship between spirit and body. There is no better thing than the eyes. The eyes cannot hide the evil.
Zhuang Zhou dreamed of a butterfly, and it turned into a butterfly. He didn't know whether the Zhou was a butterfly or the butterfly was a Zhou. If it was not a Zhou, it would not be a butterfly, and if it was not a Zhou, it would be a butterfly. There is no right or wrong, so don't be attached to it. Zhuang traveled around Haoliang, watching fish swimming leisurely and knowing the joy of fish. How did Zhuangzi know this? Because of selflessness and materialization, abandoning knowledge and immediately realizing the beauty of being in harmony with the Tao, one forgets about the Tao. In Zhuang Zhou's intuitive observation where all forms are lost and the subject and object merge, his own mind merges with the heaven's mind. Breaths and breaths are connected and the true nature is directly connected. Finally, "heaven and earth coexist with me, and all things are one with me" ("Zhuangzi. Qi"). The highest realm of "The Theory of Things").
The majestic moral realm of Confucius and Mencius and the transcendent and free realm of Lao and Zhuang are both based on their spiritual philosophy, and they are intertwined in the realm of life that praises heaven and earth and practices diligently. Kong Yan's happy place in the poor alleys, what do you enjoy? Tao Hu? No. Cheng Yi said: "Is it possible for Yanzi to take Tao as a pleasure and enjoy it? He is not Yanzi." (Volume 2 of "Henan Chengshi's Cuiyan") Taking Tao as pleasure, happiness and Tao are still divided into two parts; the place of happiness is That is Tao, music and Tao will be integrated. If you follow the rules, you will be happy wherever you touch it. If you reach the destination, you will be happy but not happy. This theory can be compared with Zhuang Zhou's theory. Xu Fuguan said that Zhuang Zhou and things were in a state of spring, which came from the great benevolence of his entire personality. In fact, it was the natural integration and mutual inclusion of the highest artistic spirit and the highest moral spirit. It can be said to be an exploration of the origin. There are differences in the ways of the two families, but they must be understood in life practice to achieve an artistic realm of life. This is what both families have in common.
In fact, Confucius, Mencius, Lao Zhuang, Confucianism and Taoism can all be integrated with five thousand years of Chinese culture, and can be integrated into life experience and spiritual understanding. Xu Fuguan said that Confucius, Mencius, Laozi and Zhuang focused on life but were not interested in art. Their artistic spirit was all exuded from their great and free personality.
Confucianism and Taoism aesthetic thought originated from his philosophy of life and was finally implemented in life practice. The philosophical questioning and the life experience of settling down and settling down are all governed by the artistic spirit of life. And mingle. Destiny and life, awareness and sincerity, soul and physical appearance are all contained in it. It is so vast that it cannot be named. Xiong Shili said that Chinese philosophy "should only observe the wholeness of the universe, integrate the essence of the universe, be thorough from beginning to end, integrate all parts, integrate inside and outside, leave what is, and reach a state of perfect harmony and no hindrance." Fang Dongmei even believes that the three schools of Confucianism, Buddhism and Taoism have the same ambition, and they are all bent on fully appreciating the rich connotations of the entire universe throughout the entire life experience. The benevolence of sincerity and respect, the infinite compassion, and the true nature of freedom are all the same; the art of life and the art of life are also the same. Purity and harmony are the ultimate state of Chinese aesthetics, spiritual philosophy and even life experience.