「第一代現代新儒家」馬一浮以「六藝論」為時人所重,後人多以此論為「經學」,為「義理學」,卻忽視六藝論實為一種學術史觀。當馬一浮斥清儒章學誠的「六經皆史」,又斥「學術史」不過是目錄,無益於身心,反是在「辨章學術,考鏡源流」理念下,重塑一種新型態的學術史觀,我稱為「義理式的學術史觀」。他一反章氏推尊史學,而將學術源流抬升至義理層,以心性之學為內蘊,質變了「學術史」原本的史學定位,轉趨與義理學(即今所稱之「哲學」)相銜,並以此重新定位傳統、現代學術之源。緣此之故,其六藝論鎔鑄了「學術史」、「經學」、「義理學」,開展出一條嶄新的學術思想路向,卻也在晚近受西學影響,學術分科愈趨嚴謹之際,難被定位,學術評價兩極,本文將說明馬一浮對章學誠學術史觀的承繼與質變,與其論點之限制。
Zhang Xue-cheng and Ma Yi-fu were also well known for study the "Six Classics" Zhang's "The Six Classics as History"is seen as "aintellectual history". But views put forward by Ma Yi-fu, it was treated as "Confucian Classics views" or "Chinese philosophy", Yet ignored and turned out to be an "intellectual history". When Ma Yi-fu deny Zhang's Views. He did not completely deny its value. Ma Yi-fu want to create a new intellectual history, I define this as a"Chinese philosophy's intellectual history". Therefore, this paper will review the differences of vives between Zhang Xue-cheng and Ma Yi-fu.
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