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| 佛教傳入與中土藝術色彩論的創立=The Introduction of Buddhism and the Establishment of the Theory of Artistic Colors of the Chinese Native Land | ||
| 作者 | 姜澄清 (著)=Jiang, Cheng-qing (au.) |
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| 出處題名 | 貴州大學學報（藝術版）=Journal of Guizhou University (Art Edition) |
| 卷期 | n.03 |
| 出版日期 | 2005 |
| 頁次 | 1 - 4, 8 |
| 出版者 | 貴州大學藝術學院 |
| 出版地 | 貴陽, 中國 [Guiyang, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 關鍵詞 | 佛教=Buddhism; 影響=influence; 藝術色彩=artistic colors |
| 摘要 | 佛教的色彩運用既不遵“禮”,也不就範於“五行”,這無異是一種新的風氣。而不只是作為“玄理”去玄談或只囿於服色、旗色。其思路雖仍不離“五行”、“五色”、“陰陽”,但精神實質已有所區別,即它是以賦色實踐為鵠的,對中土的藝術色彩論的創立影響至深,而非只是個哲學命題。 The application of colors in Buddhism neither follows “li” (the rites) nor models on “wuxing” (the Five Elements). It is undoubtedly a kind of new practice. As metaphysics it does not talk abstrusely about or confine itself to clothing colors and flag colors. Although its train of thought does not digress from “wuxing”, “wuse” (the Five Colors) and “yin-yang” (Yinyanglogy) its spiritual contents are sort of different, namely it endows the practice of colors with its aim and has a strong influence on the establishment of the theory of artistic colors of the Chinese native land, not just as a philosophical subject. |
| ISSN | 1671444X (P) |
| 點閱次數 | 453 |
| 建檔日期 | 2008.10.30 |
| 更新日期 | 2025.07.01 |
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