摘要
从《周易》的生命条理思想来看,生命总处在不断的运动变化中,并且由于阴阳二气的节奏性变化而呈现出条理和节奏来,即"生生而条理"。宗白华从"象"着手讨论了《周易》生命条理思想,并将"生生而条理"作为本体提出,正是在此基础上,宗白华展开了对艺术本体的讨论,并阐释出艺术本体"生生的节奏"。生生的节奏本身是虚灵的、非实体化的、隐在的,是生命最后最深的结构,并因此具有"静"的特征。而宗白华艺术本体论对生命的重视也契合了中国艺术呈现本真生命的基本特征。
From Zhou Yi life-coherent ideological view, Life always constantly changing, and produce the order and orderliness which arised by rhythmic changes of yin and yang,that is growing and orderliness.Zong Baihua talks about Zhou Yi life-coherent idea from image,and thinks growing and orderliness as noumenon.On this basis,Zong Baihua talks about noumenon of art,he considers the rhythm of life as the noumenon of art.And the rhythm of life is virtual,non-materialized and hidden. It is the ultimate and the deepest structure of life,thus possesses the nature of quietness.From the above,we can see that the art ontology of Zong Baihua pays attention to life and fits the basic feature of presenting the real life of Chinese art.
出处
《中国文学研究》
CSSCI
北大核心
2016年第2期76-80,共5页
Research of Chinese Literature
基金
中央高校基本科研业务费专项基金资助项目(2013113010205)的阶段性成果
