"Space" s Aesthetic Value in Artistic Design;
論“空”在設計藝術中的審美價值
Both supervisory bodies and objects must analyze the three aspects action from layers of quality,quantity,time and space and put them into practice so that supervision may obtain much more pronounced effect through improved supervisory mechanism.
監(jiān)督主體和監(jiān)督客體都必須從質、量、時、空方面去分析這三方面作用因素,并實行有效監(jiān)督或自覺接受監(jiān)督,從而完善監(jiān)督運行機制,取得更加顯著的監(jiān)督效果。
The reflection of human,time and space in Mao Zedong’s poems reveals its grandeur of artistic conception.
毛澤東詩詞中的“人”、“時”、“空”交相輝映,意境壯美。
The blankness left by the artists’ rational thoughts require the viewers to reflect and experience.
"空"這一藝術表現(xiàn)形式在現(xiàn)代設計中的運用,可以提升設計作品的藝術感染力,強化主題的表達,并具有含蓄美、殘缺美、智慧美、民族美、時代美等審美意境。
Narrated on phases as speechless , non- cognition, not seeking form only, entering empty but receiving completeness, this thesis explored the profound wisdom of the dialectical thoughts of traditional Chinese Philosophy in thinking about the relationship between art and beauty.
本文以中國傳統(tǒng)哲學的視角來揭示藝術與美的境界問題,并從忘"言"、"非"認知、不求形式、入空得圓的幾個層面展開論述,探索中國傳統(tǒng)哲學的辯證思維在把握藝術與美關系時的深邃智慧。
The "empty" idea of Buddhism in ontology theory system will be discussed in this essay.
本文把僧肇“空”觀思想放于本體論語境中加以思考 ,認為僧肇闡釋的“空”觀思想建立起了中國哲學中第一個比較徹底的本體論 ,拯救了老莊玄學建構本體論的失敗 ,完善了整個中國哲學體系。
Because firstly it constructs a persistent existence in the meaning of "study" and expounds that the world itself is "empty";secondly,it further proves the emptiness of the world from the view of "unmovable material".
它首先在“學問”意義上建立無執(zhí)的存在論,說明世界本身是“空”的;其次從“物不遷”方面進一步論證世界“空”的性質;最后則從“般若”智慧出發(fā),通過“覺悟”說明如何走向“空”的境界。
When Buddhism is brought to the East and localized in China,"sunya",as an aesthetical catalogue,is gradually coming into being.
“空”是佛教哲學的根本概念和核心范疇。
Heidegger s differentiation between the Being Itself and beings, namely that between"Nothingness"and"beingness"is similar to the Mahayana Buddhist distinction between"Sunya"and"bhava"in that both by virtue of the overcoming of obstinacy in"beingness"are aimed to reach recognition of "Nothingness", so that we say Heidegger s thinking has Buddhist significance.
一方面,海氏對存在者與存在自身的區(qū)分,就是"有"與"無"的區(qū)分,其基本精神與佛教二諦論的"空"、"有"之辨一致,也旨在克服對"有"的執(zhí)著而達到對"無"的證會。
In the conceptual evolution of sunya, some Buddhist scholars have construed the meanings of sunya differently, among which the most notable and significant is the Eighteen Meanings of Sunya.
"空"是佛教哲學的根本概念和核心范疇,也是佛教義理的最高范疇。