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孔子的思想方法具体体现在两个方面:一是从非现成性的识度,从生成与构成的角度理解事物的发生与存在;二是在“子绝四:毋意,毋必,毋固,毋我”中所体现与蕴含的对主体与世界之本然状况的理解。这种思想方法决定了我们不能把他关于艺术和美的言论当作固定的理论教条来理解,而只能将其理解为一定机缘下的缘起状态:理解为在具体对话状态中的有针对性的看法;理解为立足于“仁”这个更加本源、更加深沉的源域对艺术的具体存在状况的损益。孔子的这一思想方法是民族艺术精神的根基所在。
Confucius’s thinking method is embodied in two aspects: First, from non-ready-made knowledge of the formation and formation of the point of view from the perspective of the occurrence and existence of things; second is in the “sub-four: no meaning, not necessarily, not solid , Not me ”embodied and contained in the understanding of the natural state of the subject and the world. This method of thinking determines that we can not interpret his rhetoric about art and beauty as a fixed doctrine of doctrines but only as a marginalized state under certain circumstances: as a pertinent target of a specific dialogue state Perception; based on “benevolence,” a more primitive, deeper source of the art of the concrete existence of the profit and loss. This way of thinking of Confucius is the foundation of the national spirit of art.