石濤畫學(xué)與海德格爾藝術(shù)哲學(xué)的相通性
發(fā)布時間：2018-08-13 12:57
【摘要】：本文旨在探求石濤畫學(xué)與海德格爾藝術(shù)哲學(xué)的相通性,揭示藝術(shù)本真存在的一些規(guī)律。文章分為五個部分：第一部分從石濤與海德格爾對藝術(shù)本真的闡釋,發(fā)掘兩人在藝術(shù)之思上的相通性以及對藝術(shù)與真之本質(zhì)聯(lián)系理解的某種一致性；第二部分開掘他們的思想所具有的辯證思維的匯通,著眼于石濤對佛學(xué)“緣起”辯證法的繼承,海氏辯證思維的運用,意在闡發(fā)兩人基于所追求的終極本源論從而在辯證法運用上的相通性,揭示石氏與海氏宗教情懷的某種一致；第三部分即“真我”境界論,認為石濤的“真我”繼承了莊禪“真人”的性相,海氏的“真人”是對人的本真存在的揭示,從而使得他們的本體“真我”論也在一定程度上能夠得到匯通；第四部分“去物、去蔽的方法對終極視域的開啟”,認為石濤繼承佛道求道的心理法則,運用到藝術(shù)創(chuàng)作上,與海氏繼承現(xiàn)象學(xué)的本質(zhì)還原的方法有一些相通性；第五部分,討論海氏的詩性之思與中國藝術(shù)精神有很多相似之處,從石濤上朔到北宋山水畫,認為以北宋山水畫代表的中國藝術(shù)表現(xiàn)的“無我之境”與海氏的“詩意的棲居”之所的審美鏡像十分相似。要之,通過石濤畫學(xué)和海德格爾藝術(shù)哲學(xué)分析,獲得了對藝術(shù)的本源的三點有一定新意的認識：①藝術(shù)是真善美的統(tǒng)一；②藝術(shù)家與追求終極境域的圣賢的精神境界在本質(zhì)上相同；③藝術(shù)本真的追求探索與宗教本源的心理法則相通。在商品化、世俗化甚囂塵上、大行其道,藝術(shù)與美的本真要義一再被遮蔽、淹沒、消解、異化的當今社會,本課題所探討的以藝術(shù)本源為核心,及對兩位極富典型意義和可比性的藝術(shù)巨匠的思想展開的比較和開掘,無疑具有異常亟切的現(xiàn)實針對性和相當深刻的理論價值。
[Abstract]:The purpose of this paper is to explore the similarities between Shi Tao painting and Heidegger's philosophy of art and to reveal some laws of the true existence of art. The article is divided into five parts: the first part from Shi Tao and Heidegger's interpretation of the true art, explore the two people in the art of common thinking and understanding of the essence of art and truth of a certain consistency; The second part explores the convergence of dialectical thinking in their thoughts, focusing on Shi Tao's inheritance of the dialectics of Buddhism "origin" and the application of Hayes' dialectical thinking. It is intended to elucidate the similarities in the application of dialectics based on the ultimate source theory pursued by the two men, and to reveal some consistency between Shi and Hayes' religious feelings; the third part is the realm theory of "true self". The author thinks that Shi Tao's "true self" inherits the sexual phase of Zhuang Chan's "real person", and that Haishi's "real person" is a revelation of the real existence of human beings, so that their ontology "true self" theory can also be connected to a certain extent. The method of masking opens the ultimate horizon ", thinks that Shi Tao's psychological law of inheriting Buddhism and Taoism, applying to artistic creation, has some similarities with the method of essential restoration of Haishi's inheritance of phenomenology; part five, There are many similarities between the poetic thinking of Haishi and the spirit of Chinese art, from Shi Tao Shangshuo to the Northern Song Dynasty landscape painting. It is considered that the artistic expression of Chinese art represented by landscape painting in the Northern Song Dynasty is very similar to the aesthetic mirror of Haishi's "poetic dwelling". To sum up, through the analysis of Shi Tao painting and Heidegger's philosophy of art, a new understanding of the origin of art, namely, the unity of truth, goodness and beauty, has been obtained. (2) the spiritual realm of the artist and the sages who pursue the ultimate realm are essentially the same. In the commercialized, secularized, popular, the true meaning of art and beauty has been obscured, submerged, dispelled, and dissimilated. In today's society, this topic focuses on the origin of art. There is no doubt that the comparison and exploration of the thoughts of the two art giants, which are of typical significance and comparability, have very urgent practical pertinence and profound theoretical value.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205
本文編號：2181065
[Abstract]:The purpose of this paper is to explore the similarities between Shi Tao painting and Heidegger's philosophy of art and to reveal some laws of the true existence of art. The article is divided into five parts: the first part from Shi Tao and Heidegger's interpretation of the true art, explore the two people in the art of common thinking and understanding of the essence of art and truth of a certain consistency; The second part explores the convergence of dialectical thinking in their thoughts, focusing on Shi Tao's inheritance of the dialectics of Buddhism "origin" and the application of Hayes' dialectical thinking. It is intended to elucidate the similarities in the application of dialectics based on the ultimate source theory pursued by the two men, and to reveal some consistency between Shi and Hayes' religious feelings; the third part is the realm theory of "true self". The author thinks that Shi Tao's "true self" inherits the sexual phase of Zhuang Chan's "real person", and that Haishi's "real person" is a revelation of the real existence of human beings, so that their ontology "true self" theory can also be connected to a certain extent. The method of masking opens the ultimate horizon ", thinks that Shi Tao's psychological law of inheriting Buddhism and Taoism, applying to artistic creation, has some similarities with the method of essential restoration of Haishi's inheritance of phenomenology; part five, There are many similarities between the poetic thinking of Haishi and the spirit of Chinese art, from Shi Tao Shangshuo to the Northern Song Dynasty landscape painting. It is considered that the artistic expression of Chinese art represented by landscape painting in the Northern Song Dynasty is very similar to the aesthetic mirror of Haishi's "poetic dwelling". To sum up, through the analysis of Shi Tao painting and Heidegger's philosophy of art, a new understanding of the origin of art, namely, the unity of truth, goodness and beauty, has been obtained. (2) the spiritual realm of the artist and the sages who pursue the ultimate realm are essentially the same. In the commercialized, secularized, popular, the true meaning of art and beauty has been obscured, submerged, dispelled, and dissimilated. In today's society, this topic focuses on the origin of art. There is no doubt that the comparison and exploration of the thoughts of the two art giants, which are of typical significance and comparability, have very urgent practical pertinence and profound theoretical value.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205
【參考文獻】
相關(guān)期刊論文 前1條
1 李醒塵;海德格爾美學(xué)思想論[J];錦州師范學(xué)院學(xué)報(哲學(xué)社會科學(xué)版);2000年04期
，本文編號：2181065
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