"Space" s Aesthetic Value in Artistic Design;
论“空”在设计艺术中的审美价值
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.
监督主体和监督客体都必须从质、量、时、空方面去分析这三方面作用因素,并实行有效监督或自觉接受监督,从而完善监督运行机制,取得更加显著的监督效果。
The reflection of human,time and space in Mao Zedong’s poems reveals its grandeur of artistic conception.
毛泽东诗词中的“人”、“时”、“空”交相辉映,意境壮美。
The blankness left by the artists’ rational thoughts require the viewers to reflect and experience.
"空"这一艺术表现形式在现代设计中的运用,可以提升设计作品的艺术感染力,强化主题的表达,并具有含蓄美、残缺美、智慧美、民族美、时代美等审美意境。
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.
本文以中国传统哲学的视角来揭示艺术与美的境界问题,并从忘"言"、"非"认知、不求形式、入空得圆的几个层面展开论述,探索中国传统哲学的辩证思维在把握艺术与美关系时的深邃智慧。
The "empty" idea of Buddhism in ontology theory system will be discussed in this essay.
本文把僧肇“空”观思想放于本体论语境中加以思考 ,认为僧肇阐释的“空”观思想建立起了中国哲学中第一个比较彻底的本体论 ,拯救了老庄玄学建构本体论的失败 ,完善了整个中国哲学体系。
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“学问”意义上建立无执的存在论,说明世界本身是“空”的;其次从“物不迁”方面进一步论证世界“空”的性质;最后则从“般若”智慧出发,通过“觉悟”说明如何走向“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”是佛教哲学的根本概念和核心范畴。
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,海氏对存在者与存在自身的区分,就是"有"与"无"的区分,其基本精神与佛教二谛论的"空"、"有"之辨一致,也旨在克服对"有"的执著而达到对"无"的证会。
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"是佛教哲学的根本概念和核心范畴,也是佛教义理的最高范畴。