| 宗炳、王微美学思想的本体意义 |
| |
| 引用本文： | 张义宾. 宗炳、王微美学思想的本体意义[J]. 东南大学学报(哲学社会科学版), 2005, 7(5): 51-54 |
| |
| 作者姓名： | 张义宾 |
| |
| 作者单位： | 山东大学,艺术学院,山东,济南,250100 |
| |
| 摘 要： | 宗炳、王微在玄学背景下,提出了“山水以形媚道”、“以一管之笔拟太虚之体”的艺术本源论和“澄怀观道”、“畅神”的艺术欣赏理论,为中国绘画思想体系确立了牢固的本体基础。他们的美学思想不能放在西方二元文化语境中理解,只有超越西方二元文化模式,以中国传统特有的本体与现象合一的生活本体理论为基础,才能对其作出正确的阐释。
|
| 关 键 词： | 山水 道 太虚 澄怀 |
| 文章编号： | 1671-511X(2005)05-0051-04 |
| 修稿时间： | 2005-07-15 |
The ontological meaning in Zong Bing and Wang Wei's aesthetic thoughts |
| |
| ZHANG Yi-bin. The ontological meaning in Zong Bing and Wang Wei's aesthetic thoughts[J]. Journal of Southeast University(Philosophy and Social Science ), 2005, 7(5): 51-54 |
| |
| Authors: | ZHANG Yi-bin |
| |
| Abstract: | Under the background of metaphysics in the Wei and Jing Dynasties,Zong Bing and Wang Wei put forward that arts resource of landscape expressed the Taoism by its shape and the handwriting could paint the form of nothing,together with the theory of arts appreciation of cleaning the mind and contemplating the Taoism and enjoying the spirit.These theories constitute the firm ontological foundation of the Chinese painting thought system.Their aesthetic thoughts cannot be interpreted into the context of the Western binary culture.Only on the basis of life ontology with the Chinese traditional characteristics regarding nature and phenomenon as the unity can the correct interpretation be made. |
| |
| Keywords: | |
| 本文献已被 CNKI 万方数据 等数据库收录！ |
|
