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雅斯贝斯是一位在克尔凯郭尔与康德的致思张力间寻找人类精神出路的哲学家,“生存”与“理性”构成了他所期许的生存形而上学的两极。当雅氏以生存形而上学的慧眼关注达·芬奇时,他认为达·芬奇的魅力在于其更多地为“生存”插上了“理性”的翅膀。不过,当这位理性生存型的艺术家诉诸“直观思维”来喻示不可见的“超越存在”时,他使自己的“生存”自始保持了某种开放的局度,并由此而把“未完成”的艺术品转换为指向“超越存在”的“密码”。
Jaspers was a philosopher who sought to find a way out for human spirits through the deliberation and tension between Kierkegaard and Kant, and his “Survival” and “Reason” constituted the bipolar aspect of his existential metaphysics of life. When Arnold focused on Leonardo da Vinci with metaphysical metaphysics, he considered Leonardo da Vinci’s charm as being more of a “rational” wing for “survival.” However, when this rational-living artist resorted to “intuitive thinking” to express invisible “beyond-existence,” he kept his “existence” somehow open-ended Degrees, and thus convert the “unfinished” artwork into “password ” pointing to “beyond existence.”