摘要
冯友兰先生在继承柏拉图共相、殊相看法的同时,摒弃了柏拉图关于艺术是对实际事物模仿的“模仿说”,认为“艺术亦是一类物,亦有其理,此理可称为本然艺术”。由此在艺术本体论意义上沿着他融汇中西哲学的一贯主张,从艺术作品的本然样子讲起,把艺术作品的本然样子归于“无”,并通过对“技与道”的展开和改造,使得艺术成为“负底方法”的重要表达方式。
While inheriting Plato's universal and particular viwepoints , Feng You -lan got rid of Plato's theory, of Imitation that "painting is just the imitation of all the living things living things of nature with their colors and designs just as they are in nature. " He thought that art was a kind of object.And it was rational and called natural art. Therefore, along with hisconsistent stand to combine the Chinese and the Western philosophies in the meaning of arts ontology, he expressed from from the natural shape of the art works ,He ascribed the natural from of artworsk to "Nothing". Through the expansion ,and transformation of "ji and Tao" he made the "negative method" of his methodology an important way of expression.
出处
《贵州大学学报(艺术版)》
2006年第4期1-6,共6页
Journal of Guizhou University Art Edition
关键词
冯友兰
艺术作品
本然样子
技
道
Feng You- lan
natural shape of artworks
Ji and tao