方東美《易》學思想探析與溯源

1949年前後因政治情勢赴台之學人中，聞方東美名聲者眾，然較宏觀探析其思想者寡。本文以為其思想要旨乃在藉全面性對比與會通中、西、印哲學思想並建構其生生哲學之思想體系。然歷來研究，多將此一異於當代新儒家思想之特色歸因於方氏哲學宗傳之淵博，且以西方機體主義融貫中國形上思想發展而成的一套生命本體論。本文則嘗試從另一途徑──《周易》，深掘其在方東美哲學體系建構過程中扮演的角色及其內容。首先，方氏雖無討論《周易》之系統性專著，然透過對其散見各處論述之理論重構和思想溯源，本文指出《周易》於方氏思想中的根源性與核心性；續而於第二、第三章，本文將說明方氏立基在先秦原始儒家思想之《易》學觀、《周易》經傳成書性質與歷程，以及「學《易》者所以通其象、通其辭、通其理」之治《易》門徑，後論證其《易》學觀乃脫轉自清代私淑於戴震的焦循。依次於第四、第五章，經由掌握方東美對「形上學途徑」與「人文的途徑」所持的觀點，探析其「動態歷程之價值中心本體論」之主張，遂得其《易傳》哲學思想之精要，同時本文深入爬梳方氏對戴震思想重銓之理路並溯源之，後發現且證明此部分乃深受戴震影響。最後，藉由把握方氏《易》學「生生哲學」之奧義，指出《周易》思想在方東美理論體系中的關鍵性與重要性及其可能之侷限。

關鍵字

方東美；《周易》；戴震；焦循；原始儒家；氣本體論；生生之德

並列摘要

As one of the prominent philosophers retreating to Taiwan around 1949, Thome H. Fang’s thought had not been investigated macroscopically. The thesis accepted the presumption that the gist of Fang’s thought is constructing his “Philosophy of Creative Creativity” through the work of comparison and crossvergence among Chinese, Western, and Indian philosophy. However, the gist, distinctive from other contemporary new Confucianists, had been falsely regarded as an instillment of Western organicism in Chinese metaphysics with his scholarly family background to merge the ontology of life. Hence, the thesis took different approaches: exploring the inheritance and evaluating the status of the Zhouyi in Fang’s philosophy. To begin with, it indicated that the Zhouyi is fundamental and essential to Fang’s philosophy by reconstructing his theories and tracing his thoughts, despite Fang has no monograph on it. The 2nd and 3rd chapters illustrated the traditions of the Learning of Yi which Fang inherited, including the view of Yi of classical Confucianism, the compilation of the Zhouyi, and the ways of studying Yi: “mastering the symbols, words, and principles.” Then it argued that Fang learned and transformed the view of Yi from the Qing scholars Dai Zhen and Jiao Xun. The 4th and 5th chapters, by acquiring Fang’s “Metaphysical Approach” and “Humanistic Approach,” examined his claim of the “Value-centric Ontology of Dynamical Progress” to grasp the essence of his thought; meanwhile, by scrutinizing how Fang interpreted Dai Zheng’s thought, it proved that Dai has a great influence on Fang’s claim. In sum, by comprehending Fang’s “Philosophy of Creative Creativity” of his study of Yi, the thesis demonstrated the crux and status of the Zhouyi in Fang’s philosophy and its potential limitation.