墨家審美觀研究; A Study of Mohist Aesthetic Conception

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Title:	墨家審美觀研究;A Study of Mohist Aesthetic Conception
Authors:	楊雅翔;Ya-Siang Yang
Contributors:	哲學研究所
Keywords:	主觀原則;名實論;其安生生;先質而後文;聖王不為樂;非樂;禮樂觀;天志;審美觀;兼愛;美;墨子;墨家;墨辯;Mohist Dialectics;Mozi;Subjective theorem;Mohists;Aesthetic Concepts;The nominal and the reality;Universal Love;Beauty;The sage-kings did not engaged in musical activi;Will of Heaven;Li-yue(禮樂);Nature is prior to nurture;Condemnation of Music
Date:	2009-06-15
Issue Date:	2009-09-22 09:21:33 (UTC+8)
Publisher:	國立中央大學圖書館
Abstract:	本文以《墨家審美觀研究》為題，主要是緊扣「審美觀」展開，本文主旨不在建構具有普遍解釋效力西方式的墨子美學理論，而是由其審美觀去探究其對美與使用的觀點，藉由挖掘與美學相關的實際原則（「非樂」、「聖王不為樂」、「先質而後文」），彰顯墨家哲學的根源性與實踐性價值體現的美學特質。是以「審美觀」連結著兩個主要的議題：主體和外在世界認識問題與價值觀問題。墨家討論主體如何認識到外在世界的問題，主要是在「名實問題」討論中去論述，名和實的關係是如何對應起來，名的使用問題與美作為一個名是如何使用。而價值問題必先鋪陳先秦專屬時代底景，藉由「兼愛」、「天志」、「人性論」、「法聖王」等所架構墨家價值觀的系統，才能藉以發現各個與美學或藝術相關的實際原則與批評判斷，對各種藝文（禮樂）活動給予特定向度之闡釋。同時探討審美情感的根源：墨子藉由證成兼愛天下這種動人情操的實踐可能，進而創造一個人間天堂的投射。本文第一部分重構《墨辯》關於名實論與主觀原則的系統，基本上便可回應「美是什麼」、「美的使用意義為何」等等提問。名實論指出當我們指稱一個對象，其實是透過文字、語言在反映我們如何認知。「名」是「實」的稱謂，可用來代借指稱具體事物與抽象概念，「實」則包含「物」與「因」（思維框架），為實存客體。在使用「名」陳述一個事物時，「名」具有表述與評價的功能，所以人對於價值判斷是以主觀原則的方式呈現出來，所有價值性的判斷都是表達個人愛好、態度與情感傾向。在溝通中，可能僅僅陳述自己內心的情感描述，與主觀的評價。是以當我們說「美花」時，便是我們對花給予一個美的主觀投射，對花做出美的主觀價值表述。第二部份重構《墨子》價值觀，並相當程度回溯先秦的時代底景，以便能夠重新反省「非樂」、「聖王不為樂」等等疑問的背景基礎。墨子以「兼愛」視為一種道德情感，能夠督促人去行仁義，保證行仁踐義能夠有善報，在各項情境中作為行動實踐與判斷的中心精神。探討先秦對「天」的信仰，視天為一種客觀超然的存在，以便作為證成「人」--「命」德福能夠一致的執行者，進而推出人以「天」做為人間法儀的「義法」。是以在這種預設之下，墨家理想運作模式呈現一種追求「自養之情，而不感於外」的態度，這他們的心境走向質樸。第三部份則藉由前兩部分的架構，藉由「名實問題」與「價值問題」兩部分的架構，綜合探究關於美的名實論、在思想交易中美在同語境脈絡意義為何、審美感興如何可能、墨家的審美心境為何、墨子對音樂與藝術的看法為何，與墨子的禮樂觀這幾個面向。由名實論與主觀原則得出，「美」是一個情感語詞，作為實存主體的限定描述詞使用，這個主觀感受存在人類心中。而審美感興的「感」探討的是人如何去認識外在世界，建立在知的基礎上，人透過五路而能得以對外物感知，而直接對外物的形、色、聲、質、味等，則透過人情感基礎，而得以產生喜、怒、樂、悲、愛、惡等六種情感反應；「興」的部份討論主觀是如何形成。這部分牽涉主體的自我體驗，透過「感」的作用，將外物匯整分類成「因」，形成不同的認識架構。是以審美感興的歷程是從外在客觀的認識，如何變成我主觀的意識與情感傾向，對外物產生某種主體投射的結果。從《墨子》整理，審美感興的結果最起碼能夠產生樂/非樂（單一感官與通感）、美/非美、甘/非甘、安/非安五組結論。墨家的禮樂觀指出，藝術活動乃只是要實現「禮」的價值，而伴隨而來的娛樂性只是從屬價值，而藝術活動表現形式不能脫離「禮」的本質「敬」、與功能性「治」。至於什麼樣表現形式能夠使人觀好、觀樂，墨子並無特別要求。以「兼愛」原則要求統治階級從事禮樂活動時，須以「非樂」與「聖王不為樂」作為審美態度，並以「先質而後文」作為審美品味興求的次序。最後根據於兼愛天下這種動人情操，體現人性意義與價值，在心境上推動人類相互體愛的可能，便能夠建立一個「其安生生」的理想世界。 This thesis attempts to take “aesthetic conception” as the subject matter to study Mohist aesthetic thought. It does not try to construct a universal Mohist aesthetic theory; instead, it draws on “aesthetic conception” to illustrate how Mohists use the word “beauty” and the significance of this usage. Three telling points—“Condemnation of Music,” “The sage-kings did not engage in musical activities,” and “Nature is prior to nurture”—thus can be viewed to manifest the origin and practice of Mohist aesthetic principle. Aesthetic conception links two main issues: the epistemological question of how does a subject understand the world and the question of evaluation. Regarding the epistemological question of how does a subject understand the world, Mohists focus on the problem of “the nominal and the reality.” They ask: How does the nominal correspond with the reality? What is the use of naming? For example, what is the use of name such as beauty? Regarding the problem of evaluation, Mohist thought is viewed against the background of Chin dynasty and the key concepts such as “Extended-Love,” “The Will of Heaven,” “The View of Human Nature,” “Imitation of the Sage-Kings” are used to establish a system of evaluation. Mohist thought develops its own principle of practice and critique of judgment in the fields of aesthetics and art, along with a particular path to each kind of literary and artistic activities. Based on the inquiry into the origin of aesthetic feelings, Mohists illustrate the feasibility of “Extended-Love to the World.” In this study, I attempt to discuss the Mohist’s problem of the nominal and the reality of beauty, the signified of beauty in the context of thought, the aesthetic interest, the aesthetic mood, the views of music and art as well as the view of Li-Yo. Consequently, my reading of Mo Tzu in terms of aesthetic interest results in an explanation of “Joy/Non-Joy,” “Beauty/Non-Beauty,” “Sweetness/Non-Sweetness,” “Coziness/Non-Coziness.” I conclude my study as follows: Mohists regard the aims of artistic activities as a realization of the value of Li and the function of recreation is merely additional. The form of expression of artistic activities cannot deviate from the essence of Li—“Awe,” and its function—“Regulation.” Because Mohists adopt the view of Extended-Love, the ruling class when undergoing musical activities must take the principle of “Condemnation of Music” and “The sage-kings did not engage in musical activities” as their aesthetic gesture. Following the concept “Nature is prior to nurture,” Mohists offer their interpretation of aesthetic interest to manifest the order of human aesthetic.
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