| 幽玄意识、精神自由与绘画创作 |
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| 引用本文： | 李浥.幽玄意识、精神自由与绘画创作[J].西华师范大学学报(自然科学版),2004(4):125-128. |
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| 作者姓名： | 李浥 |
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| 作者单位： | 西华师范大学美术系 四川南充637002 |
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| 摘 要： | 本文论述了幽玄意识的含义以及它与中国传统文化、传统艺术、现代艺术及现代人文环境的关系。论文认为,幽玄意识就是世界不透明的意识,同时也是人的有限性的意识。在人的有限性的基础上进行的自由真实的审美体验和宗教体验也就是对终极价值(自身存在的意义、价值和目的)的反思。在"自由性"上,传统艺术找到了与现代艺术的对接点,实现了传统自由精神的现代化转换。
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| 关 键 词： | 幽玄意识 精神自由 绘画创作 传统性 现代性 |
| 文章编号： | 1005-1465(2004)04-0125-04 |
| 修稿时间： | 2003年9月20日 |
TACIT CONSCIOUSNESS, SOUL FREEDOM AND THE FINE ARTS CREATION |
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| LI Yi.TACIT CONSCIOUSNESS, SOUL FREEDOM AND THE FINE ARTS CREATION[J].Journal of China West Normal University:Philosophy & Social Sciences,2004(4):125-128. |
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| Authors: | LI Yi |
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| Abstract: | The paper discusses the meaning of tacit consciousness and the relationship between it with Chinese traditional culture, traditional art, modern art and human surrounding. It points out that tacit consciousness is the limited consciousness of human being as well as the opaque consciousness of the world. The experience in appreciating art and religion which is getten by recognising the limited of human being is the introspection to terminal value of human being. At freedom, traditional art finds its change from traditional freedom soul to modem freedom soul. |
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| Keywords: | tacit consciousness soul freedom the fine arts creation tradition modernity |
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