碩士 / 國立中山大學 / 哲學研究所 / 100 / 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:TW/100NSYS5259003 |
| Date | January 2012 |
| Creators | Siou-Sia Lin, 林秀霞 |
| Contributors | Mathias Obert, 宋灝 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 88 |
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