石涛画学与海德格尔艺术哲学的相通性
发布时间：2018-08-13 12:57
【摘要】：本文旨在探求石涛画学与海德格尔艺术哲学的相通性,揭示艺术本真存在的一些规律。文章分为五个部分：第一部分从石涛与海德格尔对艺术本真的阐释,发掘两人在艺术之思上的相通性以及对艺术与真之本质联系理解的某种一致性；第二部分开掘他们的思想所具有的辩证思维的汇通,着眼于石涛对佛学“缘起”辩证法的继承,海氏辩证思维的运用,意在阐发两人基于所追求的终极本源论从而在辩证法运用上的相通性,揭示石氏与海氏宗教情怀的某种一致；第三部分即“真我”境界论,认为石涛的“真我”继承了庄禅“真人”的性相,海氏的“真人”是对人的本真存在的揭示,从而使得他们的本体“真我”论也在一定程度上能够得到汇通；第四部分“去物、去蔽的方法对终极视域的开启”,认为石涛继承佛道求道的心理法则,运用到艺术创作上,与海氏继承现象学的本质还原的方法有一些相通性；第五部分,讨论海氏的诗性之思与中国艺术精神有很多相似之处,从石涛上朔到北宋山水画,认为以北宋山水画代表的中国艺术表现的“无我之境”与海氏的“诗意的栖居”之所的审美镜像十分相似。要之,通过石涛画学和海德格尔艺术哲学分析,获得了对艺术的本源的三点有一定新意的认识：①艺术是真善美的统一；②艺术家与追求终极境域的圣贤的精神境界在本质上相同；③艺术本真的追求探索与宗教本源的心理法则相通。在商品化、世俗化甚嚣尘上、大行其道,艺术与美的本真要义一再被遮蔽、淹没、消解、异化的当今社会,本课题所探讨的以艺术本源为核心,及对两位极富典型意义和可比性的艺术巨匠的思想展开的比较和开掘,无疑具有异常亟切的现实针对性和相当深刻的理论价值。
[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.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205
本文编号：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.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205
【参考文献】
相关期刊论文 前1条
1 李醒尘;海德格尔美学思想论[J];锦州师范学院学报(哲学社会科学版);2000年04期
，本文编号：2181065
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