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世俗性以及以此为基础的准宗教性似乎是作为东方美学一部分的中国古典美学的最基本象征。美学在以人的生命为出发点方面,表现出了强烈的功利感,明清时代的世俗性审美是以儒家政治伦理的实践性为基础的,它可以概括出中国古典艺术史上的政治伦理教化系统,或者以艺术审美为教化工具的功利主义美学传统。与西方美学相比,东方美学思想的核心部分是关注人的生命和生存方式,东方美学的终极追求就是达到人与自然环境,人与社会环境的和谐统一。中国人具有实用性与艺术性相结合的思维特征,这种思维下,中国传统门窗呈现出的是一种既有实用性,又有审美性的风格。“世俗”曾经是中国审美的一种,其实现在也是如此,不过现在使用更多的一个词是“适度”。世俗是为了达到一种平衡,在门窗样式设计中达到一种现代与古典的平衡也是一种艺术。
The secularity and the quasi-religiousness based on it seem to be the most basic symbol of Chinese classical aesthetics as part of oriental aesthetics. Aesthetics has a strong sense of utilitarianism based on human life. The secular aesthetic of the Ming and Qing Dynasties was based on the practicality of Confucian political ethics. It can summarize the political ethics education system in the history of Chinese classical art. Or utilitarian aesthetics as a tool of education. Compared with western aesthetics, the core part of oriental aesthetic thought is to pay attention to human life and survival methods. The ultimate pursuit of oriental aesthetics is to achieve a harmonious unity of human and natural environment, human and social environment. The Chinese people have a combination of practicality and artistic thinking. Under such thinking, traditional Chinese doors and windows present a style that is both practical and aesthetic. “Secular ” was once a kind of Chinese aesthetic, and its realization is also the same, but now more of a word is “moderate”. The secularity is to achieve a balance. It is also an art to achieve a balance between modern and classical in the design of doors and windows.