發(fā)布時(shí)間：2017-12-26 23:01

  本文關(guān)鍵詞：諾斯替主義審美性研究　出處：《山東大學(xué)》2017年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 諾斯替主義 靈知 審美性 復(fù)神話化 摩尼教

【摘要】：諾斯替主義是古羅馬帝國(guó)時(shí)期興起的一場(chǎng)宗教運(yùn)動(dòng),以二元論的反宇宙主義為基本思想原則。公元4世紀(jì)前后,受到占據(jù)主流的基督教鎮(zhèn)壓而逐漸消亡,但是諾斯替主義研究一直是西方思想界的重要議題。隨著新紀(jì)元運(yùn)動(dòng)的興起,現(xiàn)代諾斯替主義在各種思想文化領(lǐng)域涌現(xiàn),文學(xué)藝術(shù)中諾斯替主義的影響也日益彰顯。本文以現(xiàn)存的諾斯替主義原始文獻(xiàn)為依據(jù),以核心范疇"靈知"為切入點(diǎn),力圖澄清諾斯替主義中的審美性,把握其內(nèi)涵和表現(xiàn)。諾斯替主義審美性主要是指諾斯替主義作為一種宗教思想和靈性信仰,其本身蘊(yùn)含著獨(dú)特的審美觀念與特性。諾斯替主義審美性研究,一方面需要從共時(shí)性的視角呈現(xiàn)其審美觀及審美架構(gòu),另一方面則要從歷時(shí)性的視野揭示諾斯替主義審美選擇的原因和影響。"靈知"(Gnosis)是諾斯替主義核心范疇,被認(rèn)為是靈魂從世界-牢籠獲得拯救的關(guān)鍵,也是其審美觀念的集中體現(xiàn)。諾斯替主義擴(kuò)展了靈知的含義,即將靈知從認(rèn)識(shí)層面擴(kuò)展到精神活動(dòng)和實(shí)踐領(lǐng)域,使靈知不僅局限為一種知識(shí)類型,更成為一種靈修途徑。靈知具有直覺性、體驗(yàn)性和凈化作用等特點(diǎn),就其對(duì)超越性存在和人類靈魂本質(zhì)的直覺把握來說,屬于直覺的知識(shí),是與審美同屬一種類型。靈知體驗(yàn)性與審美體驗(yàn)性具有一致的精神狀態(tài),具體表現(xiàn)在主客融合統(tǒng)一、對(duì)日常經(jīng)驗(yàn)的中斷。靈知本身具有的凈化與拯救作用實(shí)質(zhì)上是通過審美功能實(shí)現(xiàn)的。靈知與審美共享一個(gè)超越領(lǐng)域,即超越日常經(jīng)驗(yàn)現(xiàn)實(shí),進(jìn)入更加真實(shí)的領(lǐng)域,不能以理智把握,只能通過直覺和審美的方式達(dá)到。二者同時(shí)也具有指向性的差異。審美的超越性是對(duì)周圍現(xiàn)實(shí)的超越,但最終仍然是回歸這個(gè)世界,關(guān)懷當(dāng)下生存,是一種回環(huán)的超越路線。靈知的超越性路徑是射線的,由這個(gè)世界出發(fā)而遠(yuǎn)離此世,最終并無回歸這個(gè)世界的目的。二者看似存在指向上的差異性,但實(shí)質(zhì)上卻又是相通的。靈知超越世界的過程,是一條否定之中暗含肯定、通過反轉(zhuǎn)重建人本價(jià)值的曲折道路,這與審美回環(huán)的路徑恰恰是內(nèi)在一致的。在靈知觀念的基礎(chǔ)上,諾斯替主義具有獨(dú)特的審美觀和審美意蘊(yùn)。諾斯替主義審美觀主要集中于對(duì)美與神、美與丑的關(guān)系的表述。就美和神的關(guān)系來說,諾斯替主義肯定美的存在和美的形式,認(rèn)為美是神的本質(zhì)屬性之一。在美丑關(guān)系上,丑是美的對(duì)立面,是黑暗領(lǐng)域的屬性。與其他宗教和思想流派不同的是,對(duì)諾斯替主義而言,美不僅僅是真理的表達(dá)手段,而是真理其本身就是審美性的。美自身的本體性地位,是諾斯替主義的根本屬性之一。諾斯替主義二元論賦予其審美意蘊(yùn)以對(duì)抗性特征,即運(yùn)用具有強(qiáng)烈對(duì)比色彩的語言、范疇呈現(xiàn)超越性與墮落性的對(duì)抗、靈魂神性與肉體物質(zhì)性的對(duì)抗。這種對(duì)抗性審美意蘊(yùn)主要體現(xiàn)在象征意象的運(yùn)用、宇宙歷史的戲劇化以及對(duì)基督教《圣經(jīng)》的反轉(zhuǎn)化敘事策略。諾斯替主義構(gòu)造出獨(dú)特的象征意象系統(tǒng):"異鄉(xiāng)"象征的是人對(duì)這個(gè)世界的根本生命體驗(yàn);牢籠和客旅表達(dá)了對(duì)這個(gè)世界的認(rèn)識(shí);呼應(yīng)象征拯救與被拯救相互回應(yīng);袍衣的剝落和靈魂向上飛升是拯救過程的象征;珍珠和綠寶石象征了純潔而珍貴的神性靈魂。這些象征意象傳達(dá)了人在這個(gè)世界的根本生存體驗(yàn),即與這個(gè)物質(zhì)世界的疏離和對(duì)抗。諾斯替主義以戲劇化方式來進(jìn)行神圣敘事。主要表現(xiàn)在:神話結(jié)構(gòu)的戲劇化;善惡沖突的戲劇性;宇宙作為戲劇情境�；�督教也有其神圣戲劇,但是二者有根本性不同�；�督教的神圣戲劇是以人類為中心的視野,宇宙的發(fā)生和存在發(fā)展的歷史意義就在于人類的拯救。諾斯替主義宇宙戲劇所關(guān)注的焦點(diǎn)是神的戲劇,是以神為戲劇的主人公和中心來開展,這個(gè)世界或者這個(gè)宇宙的產(chǎn)生和發(fā)展以致最后的滅亡都只是神的戲劇的一部分而非主角。這種戲劇觀反映出諾斯替主義對(duì)人類在宇宙中的地位和價(jià)值以及對(duì)理性秩序作為幸福生活之保證的懷疑。諾斯替主義在其神話敘事中對(duì)《圣經(jīng)》進(jìn)行有意誤讀和反轉(zhuǎn)化敘事。諾斯替主義反宇宙主義體現(xiàn)為將整個(gè)宇宙的性質(zhì)從基督教的宇宙為上帝所創(chuàng)造并看為善,反轉(zhuǎn)為這個(gè)宇宙的邪惡性�；�督教中造物主至真至善,反轉(zhuǎn)為諾斯替主義中這個(gè)世界的創(chuàng)造者為邪惡的掌權(quán)者;基督教中耶穌是造物主之子,反轉(zhuǎn)為光明世界真正上帝之子、來到這個(gè)世界拯救世人脫離造物主的魔掌;伊甸園神話中的諸角色(夏娃、蛇),反轉(zhuǎn)為喚醒亞當(dāng)靈性火花的光明使者;對(duì)《圣經(jīng)》中的一些敘事進(jìn)行反轉(zhuǎn)化,例如耶穌子女問題和耶穌對(duì)抹大拉的瑪利亞態(tài)度等。這種反轉(zhuǎn)化策略實(shí)質(zhì)上表達(dá)了對(duì)主流基督教所構(gòu)建的主流價(jià)值體系的嘲諷和反抗。在真理-拯救問題上,諾斯替主義走向了與古希臘哲學(xué)和基督教神學(xué)的思辨化道路不同的路徑,即審美路徑。這種審美路徑的核心特征是復(fù)神話化。復(fù)神話化是諾斯替主義的整體思維方式,通過復(fù)活神話思維方式以表達(dá)和闡釋自己的教義和精神原則。這種復(fù)神話化思維方式實(shí)質(zhì)上是一種審美思維,即以充滿激情的想象塑造豐富的形象,以敘事而非邏各斯的形式傳達(dá)思想觀念。諾斯替主義復(fù)神話化的審美路徑,一方面是諾斯替主義自身宗教拯救內(nèi)容的需要,另一方面是當(dāng)時(shí)面對(duì)古羅馬帝國(guó)社會(huì)問題以及面對(duì)基督教壓力做出的對(duì)抗性選擇。諾斯替主義選擇以神話對(duì)抗哲學(xué),以審美對(duì)抗理性思辨,從根本上說,是反抗邏各斯中心主義的古典精神。諾斯替主義者們認(rèn)為靈性是人本質(zhì)中潛在具有的一種超越自然秩序、同時(shí)超越造物主智慧及控制的精神能力。其以靈性超越反現(xiàn)行秩序,以東方感性直覺對(duì)抗古希臘理性思辨,企圖以審美攻破古希臘羅馬時(shí)期日益僵化的理性思辨的遮蔽,重建富有活力和想象力的感性思想樂園。雖然最終被主流基督教壓制,但是其精神仍然存在于西方思想中,在理性僵化的時(shí)代適時(shí)出現(xiàn),以重整時(shí)代精神。摩尼教是諾斯替主義的宗教流派之一,創(chuàng)立于波斯,東傳至中國(guó)。摩尼教在其本土和西方被判為異端宗教遭受重重壓迫終致消亡,前后僅存在了兩百年。但是它在中國(guó)卻能延續(xù)達(dá)近千年。從審美層面分析,對(duì)中國(guó)文化的適應(yīng)性調(diào)整和與中國(guó)審美思維同構(gòu)互補(bǔ)是摩尼教能夠在華長(zhǎng)時(shí)間存續(xù)的根本原因。摩尼重視經(jīng)書的藝術(shù)性,強(qiáng)調(diào)經(jīng)書撰寫的美觀和插圖的精美;重視繪畫在布道過程中的作用;宗教儀式中也充滿著藝術(shù)氣息。摩尼教吸取大量中國(guó)佛教藝術(shù)的造型、技法與象征,熔鑄出一種既適于表達(dá)本教核心教義又能為中國(guó)受眾所理解的藝術(shù)語言。摩尼教"分——合——分"的宇宙動(dòng)態(tài)模式,與中國(guó)傳統(tǒng)思想中陰陽兩儀的演化模式有相通之處。摩尼教漢文經(jīng)籍借用陰陽推移的范疇來描述宇宙生成的戲劇化過程。就對(duì)美的最高追求而言,宇宙戲劇的開端和結(jié)局,都是光明和黑暗在各自領(lǐng)域內(nèi)自在自存的狀態(tài),是中國(guó)化摩尼教所追求的美的最高境界,也為"中和"之美提供了另一種表現(xiàn)形態(tài)。這種中和審美范型的一致,是摩尼教得以在華傳播的內(nèi)在原因,也是摩尼教藝術(shù)能夠在華蓬勃發(fā)展的重要因素�，F(xiàn)代社會(huì)現(xiàn)實(shí)和文化思潮再次激起了諾斯替主義的回潮,其神話原型、精神意象滲入到文學(xué)藝術(shù)中�，F(xiàn)代諾斯替主義實(shí)質(zhì)是以審美對(duì)抗工業(yè)革命后的科學(xué)理性。現(xiàn)代諾斯替主義呈現(xiàn)出與古代諾斯替主義不同的特點(diǎn),弱化其宗教性和極端禁欲主義,突出其審美性和精神修行的方面。這種轉(zhuǎn)變既是對(duì)現(xiàn)代社會(huì)文化的一種適應(yīng),也是諾斯替主義自身嬗變的結(jié)果�？傊�,諾斯替主義以靈知為核心,以神話為表現(xiàn)形式,結(jié)合詩(shī)歌語言和獨(dú)特的戲劇敘事,呈現(xiàn)出與古典及基督教審美不同的特點(diǎn)。這種審美選擇和構(gòu)建影響到后世諸多文化思潮,構(gòu)成西方文化發(fā)展的一條暗線,并在不同的時(shí)代涌現(xiàn)。諾斯替主義并不僅僅是一種宗教流派或者思潮,而是一種歷久恒在的審美文化范式,與邏各斯中心主義共同界定著人類對(duì)于世界和自身的感知與理解。
[Abstract]:Gnostivism is a religious movement rising in the ancient Rome Empire, with the basic ideological principle of the dualism of anti cosmism. Before and after the fourth Century ad, it was gradually disappearing from the dominant Christian crackdown, but the study of Gnostic has been an important issue in the western ideological circle. With the rise of the new age movement, modern Gnosticism in the ideological and cultural fields emerged, Gnosticism's literary and artistic effect of CHINO also becomes more and more obvious. Based on the existing Gnostic literature as the basis, the core category of "gnosis" as the breakthrough point, tries to clarify the Gnostic aesthetic doctrine, grasp its connotation and performance. The aestheticism of Gnosticism mainly refers to Gnosticism as a religious thought and spiritual belief, which itself contains unique aesthetic concepts and characteristics. On the one hand, we need to present its aesthetic and aesthetic structure from a synchronic perspective. On the other hand, we need to reveal the causes and effects of Gnosticism's aesthetic choice from a diachronic perspective. "Gnosis" (Gnosis) is the core category of Marxism for the north, is considered to be the key to save the soul from the world - cage, but also embodies the aesthetic concept. Gnosticism expands the Gnostic meaning, will be extended from cognition to spiritual gnosis activities and practice, not only for the gnosis of a type of knowledge, become a kind of spiritual path. It is intuitive, the experience and the purification effect and other characteristics, is its transcendent existence and essence of the human soul intuition, belonging to intuition and aesthetic, is belong to the same type. Gnosis experience and aesthetic experience has the same mental state, specifically in the subjective and objective unity, fusion disruption to the daily experience. Purification and salvation effect is achieved through the gnosis itself has the aesthetic function. Gnosis and aesthetic shared a transcendental field, i.e. beyond everyday experience into reality, more real, unable to grasp the reason, only through intuition and aesthetic way to achieve. The two also have the differences of directivity. The transcendence of aesthetics is the transcendence of the surrounding reality, but ultimately it is still a return to the world, and caring for the present existence is a way of transcending the ring. Gnostic transcendence path is ray, starting from this world away from this world, there is no end to return to this world. The two seem to have the difference in pointing, but in essence they are interlinked. Gnosis beyond the world, is a denial implied affirmation, winding path through the reverse reconstruction of the value of the human, which path and aesthetic circle is consistent. Based on the concept of Gnosis, Gnosticism has unique aesthetic and aesthetic implication. The aesthetic view of Gnostic is mainly focused on the expression of the relationship between beauty and God, beauty and ugliness. As far as the relationship between beauty and God is concerned, gnosism affirms the existence and beauty of beauty, and thinks that beauty is one of the essential attributes of God. In the relationship between beauty and ugliness, ugliness is the antithesis of beauty, is the dark field attribute. Unlike other religious and ideological genres, the beauty of Gnosticism is not only a means of expression of truth, but the truth of its own aesthetic nature. The noumenon status of beauty itself is one of the fundamental attributes of gnosism. Gnostic dualism endows its aesthetic implication with antagonistic characteristics, namely, the use of strong contrasting languages and categories, the confrontation between transcendence and degradation, and the confrontation between the spirit of the soul and the corporality of the body. This aesthetic implication is mainly embodied in the use of symbolic imagery, the drama of the history of the universe and the counter conversion of the Bible to the Christian Bible. Gnosticism construct symbolic imagery unique system: "otherland" is the symbol of all life experience of the world; the cage and the traveler expressed understanding of the world; a symbol of salvation mutual echo response; robes peel and soul to ascend is a symbol of salvation; and Pearl emerald symbol of pure and precious soul. These symbolic images convey the fundamental living experience of human beings in the world, that is, the alienation and confrontation with the material world. Gnostiism carried out the sacred narrative in a dramatic manner. It is mainly manifested in the dramatic drama of mythological structure, the dramatic drama of the conflict of good and evil, and the universe as a dramatic situation. Christianity also has its sacred plays, but the two are fundamentally different. The holy drama of Christianity is a vision of human centered. The historical significance of the occurrence and development of the universe lies in the salvation of mankind. The focus of Gnosticism cosmic drama is about God's drama, is God drama the hero and the center to carry out, in this world or the emergence and development of the universe that the final death are just a part of God's drama rather than the protagonist. This view of drama reflects the suspicion of Gnosticism on the status and value of human beings in the universe and the guarantee of a rational order as a happy life. In his mythological narrative, Gnostic misread and reverse the narrative of the Bible. Gnostic anti cosmism manifests itself as the creation of the whole universe from the Christian universe to God, and it turns into goodness, reversing the evil nature of the universe. The Christian creator Treant, inversion for the world Gnostic creator in evil rulers; Christian Jesus is the creator son inversion is the son of God, the real world of light came into the world to save the world from the clutches of the creator; the role of Eden Mythology (Xia Wa, snake), inversion to awaken Adam Lightbringer spiritual sparks; reverse transformation of the "Bible" in the narrative, such as Jesus
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：B83-0
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本文編號(hào)：1339191