广西师范大学 硕士学位论文 丰子恺艺术美学思想探究 姓名：李树玲 申请学位级别：硕士 专业：文艺学 指导教师：黎东明 20070401 广西师范大学硕士研究生学位论文 I 丰子恺艺术美学思想探究丰子恺艺术美学思想探究 姓 名：李树玲 年 级：2004 级 专 业：文艺学 指导老师：黎东明教授 研究方向：文艺美学 摘摘 要要 丰子恺 （1898---1975） 是中国现代史上著名的漫画家、 文学家和艺术教育家 学贯中西的艺术理念、禀赋丰富的艺术经验、敏锐的理论洞见、开阔的审美视野 以及悲悯的宗教情怀使丰子恺成为思想独特的美学家他追求“多样统一”的审 美理想， 尝试把东西方美学思想融为一体， 从而形成一种现代意义上的艺术理念 丰子恺美学思想是 20 世纪 30 年代艺术家美学思想的代表 他的美学思想与艺术 实践紧密的联系在一起随着对他研究的深入，其艺术美学思想也得到了越来越 多学者的关注他的美学思想对现代美学基本问题如美的本质与功能、生活与美 的关系、审美教育、艺术审美等有着精辟的见解 本文针对近年来丰子恺研究的具体情况及存在的问题， 对其艺术美学思想进 行了系统的梳理和阐释， 以期在新的历史背景下重新挖掘这位艺术家背后的思想 理论内涵，确立其在 20 世纪中国美学史上的真正地位。
首先，立足于时代大背 景， 对丰子恺所生活的时代和文化背景进行简要概述， 并从丰子恺身上承传的 “儒 释互补”思想、对西方文化的接受等方面分析其艺术美学思想的理论渊源，为丰 子恺艺术美学思想的具体阐释奠定基础其次，从审美本质观、审美形式观以及 审美主客体关系论这三个方面来阐释丰子恺美学思想的基本内涵丰子恺以“真 善美”为核心，把真、善、美作为人所掌握世界不可或缺的三个方面，三者互相 关联，三位一体；追求“多样统一”的审美形式观，并把它运用到自己的生活中 去，用看书画的眼光来看世界；主张审美“绝缘”与“有情化” ，丰子恺认为： 把人当风景看，叫做“艺术的绝缘” ，就是屏除一切传统习惯，而用全新的直觉 的眼光来观看世间，即所谓物我无间，一视同仁的境界把风景当人物看，叫做 “艺术的有情化” ，就是把感情移入万象中，万物皆有生命绝缘与有情化是艺术 的最高境地再次，在丰子恺艺术审美观的基础上，围绕丰子恺艺术审美教育实 践展开论述，分别从培植“艺术心” 、提倡“艺术的人生”与“人生的艺术”之 和谐的审美教育实践两大方面进行分析阐述，揭示出丰子恺的艺术价值观、艺术 教育观等艺术美学思想内核 丰子恺艺术美学思想体现出西方近现代美学思想与中国传统美学意识的整 合，对中西文化的融汇具有现代性转型的意义。
作为中国美学发展史中不可缺少 的一页，丰子恺的美学思想有着重要的理论价值，他认为艺术作为美感的结晶与 广西师范大学硕士研究生学位论文 II 审美活动的主要方式，它的意义不在于单纯的审美，更在于它与生活的联系他 要求审美主体投身实践，积极创造在生活与艺术实践中，去发现美，创造美， 品鉴美；他强调走向民间大众的艺术教育，始终把握艺术教育的最根本——审美 的艺术教育的实质，丰子恺的艺术教育开拓了中国现代美育思想的视阈，丰富了 中国现代美育思想的内涵，推动了中国美育思想由传统伦理美育向现代人文美育 的转型但是，丰子恺的美学思想也有明显的理论局限，主要表现在对美与艺术 问题论述上的某些形而上学倾向，对西方文化资源吸纳上的某些简单化状况以及 具体论证上的某些疏阔现象等，这里既有个人的因素，也有时代的印记，给我们 当代美学的健康发展提供了良好的借鉴 关键词：关键词： 丰子恺；绝缘说；同情说；艺术心；艺术人生；审美教育 广西师范大学硕士研究生学位论文 III Research On Feng Zikai’s Art Aesthetic Theory Author: Shuling Li Grade: 2004 Subject: Literary theory Supervisor: Prof. Dongming Li Major:Literatural aesthetics Abstract In the modern history of China, Feng Zikai (1898---1975) is a famous cartoonist, writer and educator. He is a unique idea aestheticians, with the combination of Chinese and Western art, the rich artistic experience, sharp theoretical viewpoints, the broad aesthetic vision and religious feelings of sympathy. He pursuit of “ unity in variety “ aesthetic ideal, he tried to put together oriental art and Western aesthetic thought, forming a new artistic concepts. In 1930’s, the Feng Zikai aesthetic theory is representative of artist aesthetic theories. His aesthtic theory intensely connects with his practice of art. With the further research, his art and aesthetic theory has been recognized and emphasized by many schloars. The Feng Zikai aesthetic theory has incisive view to modern fundamental aesthetics problem, Such as aesthetic essence and function, live and aesthetic relation, aesthetic education, art appreciation of the aesthetic and so on. Considering the specific situation and the problems on the studies about Feng Zikai, this thesis systematically coordinates and expounds his art aesthetic theory, aiming at excavating the ture meaning of his art and aesthetic theories, establishing his status in the aesthetic history of 20th century. Firstly, the special time and cultural background in the 20th century when Feng Zikai lived is introduced. So are the sources of his art aesthetic theories: his combination of Confucian and Buddhist ideas; his acceptance of western theories and understanding them by the perspective of Confucianism. And this makes the basis for the illumination of his theories in the following. Secondly, Feng’s art and aesthetic theories are expounded from three perspectives: art essence, art sense and relationship between the subject and object. Feng’s thought of art aesthetic essence, the center of which is “truth, kindness and beauty”; his view of art aesthetic sense, pursuing “unity in variety”; and his view on the relationship between the subject and object, advocating “aesthetic insulation” and “aesthetic sympathize”. Finally, according to the Feng Zikai’s aesthetic view and his art aesthetic education practice, we can expose his aesthetic education practice from two aspects, cultivating the art heart, advocating “life of art” and “art of life”, which reveal the depth of Feng’s aesthetic theories of art value and art education. 广西师范大学硕士研究生学位论文 IV Feng’s art theory embodies the integration about west modern aesthetic ideology and Chinese tradition aesthetics, which have significance of the transformation for the fusion of Chinese and Western cultures. As an indispensable chapter in the history of aesthetic development, Feng's aesthetic ideology plays an important theoretical value and enriches the connotation of China's modern aesthetic ideas. Feng Zikai think that art is not purely aesthetic significance, but also it is linked with life. He demanded that the principal aesthetic practice and actively create. In life and art practice, He advocated people to find beauty, to create beauty, to appreciate beauty. He stressed that art education should be geared to the general public. He always grasp the essence of art education -- the art of aesthetic education. He opened up a modern Chinese。