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本論文研究主要關注於，黃宗羲如何在肯定理性的待發展性下，就理性的自我發展，建立一套道德哲學。 首先第一章緒論，先敘述研究之背景目的、文獻評述，擬定之研究方法及進行步驟、預期研究成果。對於黃宗羲，首在去除形上學預設對人的限制。就人在活動中的自主性、發展性，建立一套個人道德養成與推動現實理想化，密不可分的道德體系。筆者將於第二到第六章在此體系下，分別就不同脈絡的個個問題探討其哲學之建構。 第二章：黃宗羲在作品中屢稱己意在承繼劉蕺山，但單憑於此，尚難斷定黃宗羲的哲學思想是承繼劉蕺山。尤其是黃宗羲對人物思想評論，間有與劉蕺山不同之處，而當今學界，更是在黃宗羲與劉蕺山思想定位上，存在著歧異。此歧異牽涉資料援引問題，本章目的乃就當今學術界研究歧異先做一回應。首重原典的掌握，並進行對各家看法加以檢視考據。根據原典呈現，將兩者定位，並就黃宗羲對劉蕺山承繼與發展，來看黃宗羲哲學所關注的焦點。 第三章：針對於黃宗羲理論歧見最多的氣學定位，個人認為應分成兩面向來看。一是黃宗羲對天道之堅持，二是其重氣的理氣觀。而關於此兩面向，有待就黃宗羲理氣、心性與道德關係角度作說明。 第四章：論述黃宗羲哲學是心學也是氣學，就氣流行方式，認為人滯於私為惡，故必須從（1）現實無法使人成善？（2）人何以有一不依經驗的道德性？（3）此道德性如何引導人在現實成善？此三個問題做討論。本章並就理氣與心性論、工夫論之間關係，解釋人道德呈現差異與人文化成。 第五章：本章延續第四章問題論「性」的呈現，由道德意志貫徹於氣化實踐，使「性」以成其全，並論主體擴充之工夫內容。 第六章：黃宗羲認為個人的道德養成，與儒家道德世界在現實中完成乃是密不可分，因此儒家思想在社會建立社會規範，在肯定理性的待發展性下，就理性的自我發展，完成以儒家思想建立公共的規範。 最後，本論文將總結討論黃宗羲建構之哲學思想，能否真正取代陽明心學，以及其哲學的可能發展。 / This thesis mainly focuses on how Huang Zongxi （黃宗羲）established a set of moral philosophy on the basis of affirmative rational development. The first chapter of the introduction, describes the background purpose of research, literature review, the proposed research methods and measures and the expected results. Huang Zongxi, aims for removing metaphysical restrictions on human . Based on the autonomy and development of human in activities, he establishes a set of moral system in which not only personal morality can be fostered but also promotes the idealization of reality. Under this system,from the second to the sixth chapters, I will discuss the construction of his philosophy on the various contexts respectively . The second chapter discusses thatalthough Huang Zongxi repeatedly claimed that he is willing to inheritLiu Jishan (劉蕺山）in his works, it is insufficient to conclude that Huang Zongxi's philosophical thinking is indeed so.In particular, Huang Zongxi's comments on the character thought were different from that of Liu Jieshan. In today's academic world, there is disagreement betweenthe philosophical points of Huang Zongxi and Liu Jishan. The primary purpose of this chapter is to respond to the current academic disagreement which resulted from data-citing problem. Focusing on the original texts, examined the views of various critics. The two would be positioned based on the original texts. Viewing the focus of Huang Zongxi's philosophy which was based on his inheritance and development of Liu Jieshan. The third chapterconcentrates on the controversial issue about the theory of qi (氣) in Huang Zongxi’ philosophy,which should be regarded as two aspects. One is Huang Zongxi 's adherence to the tiandao (天道), the other is his emphasizing of the value of qi (氣). I would illustrated the two aspects by the discussions of the relationships of Huang Zongxi's li-qi (理氣）andxin-xing (心性）inmoral system. The fourth chapter discusses that Huang Zongxi’s philosophy is not only xin xue (心學), but also qi xue (氣學). By the way qi move, human who stagnant self-interest, become evil. Therefore it must be debated on three questions as below ：(1) Can the reality not make thepeople good? (2) Why do people have a morality that does not depend on experience? (3) How does this morality lead people to be good at reality? This chapter also explains the difference between human morality and human culture by the relationship between the theory of qi, the theory of the xin and thetheory of cultivation . In the chapter five, I continue to discuss the presentation of "xing" . Since the morality is carried out by qi’s realization, to complete xing ,and discusses the content of cultivation by the expansion of the subject. In the sixth chapter, according to Huang Zong-xi’s view , the Confucian moral world in reality, which is closely linked with the individual's moral cultivation. Therefore,Confucianism will to establish a social norms in society. Under affirmative rational development, the public norms established by Confucianism willbe completed by self-realization. Finally, I will summarize that whether Huang Zongxi's philosophy can truly replace Yangmingism (陽明心學）and the possibledevelopment of Huang’s philosophy.

Considéré généralement comme objet de l’art, sujet de la littérature et catégorie de l’esthétique chinoise, shanshui, les « montagnes-eaux », est censé relever d’un sentiment et d’une conception de la nature relativement différente de celle de l’Occident. Or la construction moderne de shanshui au prisme de la nature n’intègre la multiple pratique paysagère historiquement fondée dans la tradition lettrée, inextricablement liée à l’invention des montagnes-eaux : l’érémitisme, la recherche d’immortalité, l’excursion, la réunion littéraire lettrée, la création poétique, picturale et du jardin. Centrée sur l’histoire tri-séculaire après la chute de la Dynastie Han, en exposant les conjonctures particulières, analysant la notion ‘ziran’ dans l’étude du Mystère, rassemblant et traduisant les écrits et poèmes thématiques qui témoignent des mouvements et tendances extra-mondains dans les milieux lettrés sous les Wei-Jin (220-420), cette thèse vise à montrer que shanshui, plutôt que d’être constitué par la dualité nature/art, est inventé comme un paradigme confrontant, dans une bipolarisation de la réalité lettrée à cette époque, l’espace confucéen et l’espace taoïste, le service et la retraite, les affaires mondaines et la recherche de l’idéal par-delà la société. Autour de shanshui se cristallisent les idées-valeurs comme l’authenticité, la dévotion, la vertu, la liberté, le naturalisme, le mysticisme, la créativité et la transcendance immanente, en cela, nous supposons la co-naissance des montagnes-eaux et d’un idéal-type de l’humanisme classique chinois. / Generally regarded as the object of art, the subject of literature and Chinese aesthetic category, Shanshui (mountains-waters) is believed to be relevant to aesthetical feelings as well as the philosophical concept of nature that is different from that of the West. However, the modern construction of Shanshui through the prism of nature does not integrate the multiple landscape practices historically founded in the gentry's tradition, which had contributed to the invention of mountains-waters: eremitism, immortality seeking, excursion, gathering of literary circles, and the creation of poetry, paintings and gardens. Focusing on the history of Wei-Jin (220-420) after the fall of the Han dynasty, exposing the particular contexts, analyzing the notion of 'Ziran' in the Xuanxue school, gathering and translating the writings and thematic poems showing the extra-mundane movements and tendencies in literate milieus under this time, this thesis aims to show that Shanshui, rather than being constituted by the duality of nature and art, has been invented as a cultural paradigm to confront, in a bipolarization of the reality of ruling gentry class, the Confucian space and the Taoist space, service and disengagement, mundane concerns and pursuit of the Ideal beyond society. Around Shanshui the ideas and values such as authenticity, deep affection, virtue, liberty, naturalism, mysticism, creativity and immanent transcendence are crystallized, in this way, we may assume the co-birth of mountains-waters and an ideal type of Chinese classical humanism. / 山水研究以往側重于詩歌，繪畫與哲學分析，并普遍將山水視為自然再現，自然情感與某種不同於西方自然觀的審美表達。然而，“相對不同”的判定卻是建立在自然／文化兩分的現代二元范式的“普世應用”上的。因為僅僅強調山水源於“發現自然”並不能整合與山水緊密相關且貫穿於士傳統中的文化實踐：如隱逸，遊仙，遊覽，雅集，以及對世外理想之境的不懈書寫，描畫與營造。本論文考察了魏晉時期(220-420)的社會，政治與文化背景：名教自然的對立，隱逸遊仙的結合，魏晉風度，衣冠南渡，僑立，宗教興起，道釋義理在文化士族內部經由玄學促生的思想轉向等；通過分析魏晉玄學中的自然概念，整理翻譯相關的歷史文本與詩歌，試圖說明，與其說山水是自然／藝術的二元構建，毋寧說山水是士階層在仕與隱，經世與玄遠，世表與塵外的現實兩極化中所創建的一種文化範式。圍繞山水，凝聚了一系列具有重要文化特徵的理念与價值——保真，養身，自足，逍遙，自然主義，暢神玄覽，內在超越與審美理想。這意味著與山水共生的是一種中國古典人文主義的理想型。