摘要
先秦时期实用与审美未分,艺术更切合技术,画家从属于工匠。器物制造经验是人类最为普遍的原初经验,技术的法度和规则是形成艺术自由和画家审美心灵的基础。《庄子》中的工匠以技进道,以器物制作过程隐喻艺术创作规律,在审美直觉中实现主体的自觉。"真画者"是技艺、生命意义、形而上的三位一体。真画者的技术维度是在中西文化早期具有普遍性的艺术经验,对反思当下艺术仍具有借鉴意义。
In the ancient times of China,practicality and aesthetics were not separated.The concept of art was similar to the skills,and artists were included in the craftsmen.The experience from the instrument and its manufacturing to the art reflects the pursuit for norms and the recognition of models of art creation.The aesthetic established in the experience of instrument manufacturing gradually become the universal law in the Chinese art history.Therefore,instrument manufacturing has transcended the significance of the handcraft itself,Zhuangzi＇s craftsmen skill to Taoism,make his daily experience sublimate into spiritual pleasure and acquire self-consciousness.The true artist is a trinity of skill,meaning of life and metaphysics.The instrument metaphor is a general experience providing discourse between the early Chinese and Western.It is also importance for the reflection on the existing problems with contemporary arts.
出处
《浙江艺术职业学院学报》
2017年第4期130-135,共6页
Journal of Zhejiang Vocational Academy of Art
基金
2017年度国家艺术基金"中国绘画意象造型艺术人才培养"项目成果。(项目编号:2017-A-04-(078)-0592)
关键词
《庄子》
解衣槃礴
真画者
international standard ballroom dance
implementation standard
sports dance
dance teaching
作者简介
王陶峰（1981-）,男,河南洛阳人,南开大学博士研究生在读,主要从事中国美学、书画艺术美学研究.（天津300350）
