| 情与意:艺术本体论辨识 |
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| 引用本文： | 黄永健.情与意:艺术本体论辨识[J].深圳大学学报(人文社会科学版),2005,22(6):84-87. |
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| 作者姓名： | 黄永健 |
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| 作者单位： | 深圳大学文学院,广东,深圳,518060 |
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| 摘 要： | 在对于艺术本体的认知上,有“唯情”和“唯意”的两种观点的尖锐对立。现代艺术的危机表明,艺术“唯意”或“唯理”只能是死路一条。中外传世经典文学艺术作品都是情意互证两不偏废的。从禅宗“情法”互证的认知方式来看,艺术的本体为“情道合一实相”。
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| 关 键 词： | 艺术本体 唯情 唯理 情道合一 |
| 文章编号： | 1000-260X(2005)06-0084-04 |
| 修稿时间： | 2004年5月20日 |
The Interpretation of Art Ontology |
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| HUANG Yong-jian.The Interpretation of Art Ontology[J].Journal of Shenzhen University(Humanities & Social Sciences),2005,22(6):84-87. |
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| Authors: | HUANG Yong-jian |
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| Abstract: | There has been a sharp conflict between the concept of unique importance of emotion and that of unique importance of meaning.The crisis of modern art shows that art can only meet its doom if it attaches importance to only meaning or reason.The literary and art works that can last forever all give equal emphasis to emotion and meaning with each supporting the other.From the perspective of Zen-Buddhism's cognizing mode of emotion and tenets supporting each other,the ontology of art is that" emotion and morality are incorporated and form an entity". |
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| Keywords: | art ontology unique importance of emotion unique importance of reason emotion and morality are incorporated |
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