本文關(guān)鍵詞： 現(xiàn)代精神 人類欲望 中國人精神 精神危機(jī) 正折射 寄情山水 現(xiàn)代性進(jìn)程 人與自然 以形媚道 中國文化傳統(tǒng) 　出處：《文化縱橫》2017年02期 　論文類型：期刊論文

【摘要】：寄情山水"以形媚道",是傳統(tǒng)中國人實(shí)現(xiàn)"天人合一"之境的精神進(jìn)路,這種萬物與我唯一的認(rèn)知取向也是支撐中國人精神世界的核心價(jià)值。然而如同本欄目的兩篇文章所述,源自西方的現(xiàn)代精神結(jié)構(gòu),割裂、消解了這種人與自然的合一關(guān)系,于是中國人也不可避免地陷入現(xiàn)代性帶來的價(jià)值虛無與精神焦慮之中。現(xiàn)代藝術(shù)表現(xiàn)的扭曲與緊張正折射了這樣的一種社會(huì)病癥。"山水社會(huì)"正是一種藝術(shù)實(shí)驗(yàn),試圖在現(xiàn)代社會(huì)重新發(fā)掘"山水"內(nèi)涵,以反思、超越空虛頹靡的現(xiàn)代生活。但必須警醒的是,這種藝術(shù)實(shí)踐需要找回的是一種人與自然的本真關(guān)系,而非將"山水"雕刻為滿足人類欲望的精致擺設(shè)。
[Abstract]:"in the form of beauty" is the spiritual way for the traditional Chinese to realize the "unity of nature and man". This kind of all things and my only cognitive orientation is also the core value that supports the spiritual world of the Chinese. However, as stated in the two articles in this column, The modern spiritual structure, which originated in the West, has disintegrated this unity between man and nature. Therefore, the Chinese inevitably fall into the void of value and spiritual anxiety brought about by modernity. The distortion and tension of modern art is a reflection of such a social disease. "the landscape society" is a kind of artistic experiment. This paper attempts to rediscover the connotation of "landscape" in modern society in order to reflect and transcend the emptiness and decay of modern life. However, what we must be aware of is that what this kind of artistic practice needs to find is a kind of true relationship between man and nature. Instead of carving the landscape as a delicate arrangement to satisfy human desires.
【作者單位】： 復(fù)旦大學(xué)哲學(xué)學(xué)院;
【分類號(hào)】：J212

【相似文獻(xiàn)】

相關(guān)期刊論文 前4條

1 李文軍;現(xiàn)代派藝術(shù)與現(xiàn)代精神[J];內(nèi)蒙古社會(huì)科學(xué)(漢文版);2000年06期

2 陳原;新雕塑的現(xiàn)代精神[J];美與時(shí)代;2003年09期

3 曹靜;辛雄飛;;解讀徐福厚作品中詩意的“古典現(xiàn)代精神”[J];作家;2008年12期

4 ;[J];;年期

，

本文編號(hào)：1500515