With respect to art, we mainly discuss the issue of 'space', and we generally believe that there exists the so-called 'art-space'. However, Heidegger considers art in a very different way which is phenomenological. With phenomenological reduction, he reinterprets how the art-space exists, and he also endows art with a brand new meaning, that is, ¡§opening¡¨ , which is the way one expresses oneself.
Nonetheless, Heidegger explains art in a dialectical way, that is to say, the negative way. However, that is the reason for Chinese landscape painting to be painted. In this essay, I try to yield further evidence for Heidegger 's theory, by investigating into Chinese landscape painting.
The 'art-space' is hidden by the 'blank' spot of the landscape painting, so it is not emptiness, but gathering 'space', 'space itself', and 'light' into a whole; at the same time, it shows truth, which is lived truth. The 'art-space' does not come from imitating, but from a 'text-space' between likeness and unlikeness.
| Identifer | oai:union.ndltd.org:NSYSU/oai:NSYSU:etd-0613112-174754 |
| Date | 13 June 2012 |
| Creators | Lin, Siou-Sia |
| Contributors | Chung-Chi Yu, Mathias Obert, Shin-Yun Wang |
| Publisher | NSYSU |
| Source Sets | NSYSU Electronic Thesis and Dissertation Archive |
| Language | Cholon |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0613112-174754 |
| Rights | user_define, Copyright information available at source archive |
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