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| 由抽象繪畫與禪畫試論東、西藝術的差異=A Study on the Differences in the Oriental Art and the Western Art by the Abtract Painting and the Zen Painting | ||
| 著者 | 潘襎 (著)=Pan, Fan (au.) |
|---|---|
| 掲載誌 | 法光學壇=Dharma Light Lyceum |
| 巻号 | n.1 |
| 出版年月日 | 1997 |
| ページ | 130 - 140 |
| 出版者 | 法光佛教文化研究所=Fa-kuang Institute of Buddhist Studies |
| 出版サイト | http://fakuang.org.tw/index1.htm |
| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
| 資料の種類 | 期刊論文=Journal Article |
| 言語 | 中文=Chinese |
| キーワード | 繪畫=painting; 禪學=Study of Zen |
| 抄録 | 本篇論文試圖透過現代的抽象藝術探討東、西藝術觀的異同。這種藝術觀因兩者的交匯，產生了本質性的轉變。首先從歷史性的發展中，探討西洋如何到達抽象藝術的地步，在這裏具備「純粹化」的傾向，接著探討中國藝術思想的根源，這種思想來自莊子的思想，而佛教的傳入使此種思想向上昇華，就藝術來說心象的自由運用，清楚地辨明莊子與禪學的不同點在藝術型態的自由運用能力。第三，由海德格與久松真一的對話中，釐清東，西藝術的差異點，東方的禪藝術重視回歸內在的根源，在這種根源當下存在禪藝術的本質，西方藝術的本質是造型，所以是創造「有」的藝術，現代藝術就是抽離「有」的純粹化」的必然歸趨。 The purpose of this paper is to explore the differences in contemporary abtract art between the conception of the Oriental Art and the Western one. Because of the interaction of these two, the nature of art conception has been modified. First of all, we inquired into how the Western Art extended to abtract one in its historical progress. The core of all the progress is mainly a tendency of purism. On the other hand, we examined the source of conception of the Oriental Art. The conception originated in Zhuangzi, one has been progressed when Buddhism has been introduced to China form India. To the faculty of making use of the artistic form, it is clear that Zhuangzi is different from the Zen Sect as to the use of representation. Thirdly, we arrived at the conclusion that the oriental artistic conception is different from the western one by the dialogue between Hisamatsu and Heidegger about Zen Art. The Oriental Zen Art attaches importance to the recurrence of interior source. The nature of the Zen Art is this source. The nature of the Western Art is mould, so that it is the art of creating, "be". Contemporary art is just an inevitable consequence of purism of abstracting "be". |
| ヒット数 | 1437 |
| 作成日 | 1998.04.28 |
| 更新日期 | 2017.08.23 |
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