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| 題 名 | 程兆熊之庭園本體美學:程兆熊與久松真一的庭園美學之比較研究=Cheng Chao-Shung's Garden Aesthetics: A Comparative Study of Cheng Chao-Shung and Hisamatsu Shinichi's Garden Aesthetics |
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| 作 者 | 賴賢宗; | 書刊名 | 中華本土社會科學期刊 |
| 卷 期 | 7 2025.12[民114.12] |
| 頁 次 | 頁3-32 |
| 專 輯 | 紀念程兆熊先生的學術與思想 |
| 分類號 | 180.3 |
| 關鍵詞 | 禪宗庭園; 禪宗美學; 久松真一; 程兆熊; Zen garden; Zen aesthetics; Shinichi Hisamatsu; Cheng Chao-Shung; |
| 語 文 | 中文(Chinese) |
| DOI | 10.30213/JCISS.202512_(7).0001 |
| 中文摘要 | 程兆熊之中國庭園的本體美學的七個美學特徵出於他的《中國造園藝術之特質》 《美學與美化》所說的中國庭園美學的七個美學特徵出於他所說的性情之教, 具有本體詮釋的深刻涵義,程兆熊闡釋中國庭園的本體美學的七個美學特徵如 下: 其一、以有限表現無限。其二、於精緻中見深厚。其三、遊心於物,物我 雙忘。其四、氣韻生動。其五、豐神美妙。其六、於心物俱泯中,有在變化的 統一裡,有其平靜的偉大。其七、求之於有限與無限之合而為一中,在複雜的 單純裡,實為崇高的單純。久松真一《禪與藝術》一書以七大特徵闡釋禪藝術 的作品特質,他主要討論的是禪書和禪茶,但是禪宗庭園也可以是禪宗美學的 應用對象之一,久松真一的無相的自我,以無相來闡釋自我或主體性並不是最 恰當,尚未能推進至「無念為宗」、「無住為本」的更為積極動力。筆者此文以 程兆熊之中國庭園美學的七個美學特徵,對比並重檢久松真一《禪與藝術》禪 藝術的禪藝術的七大特徵之說,寫作此文,在程兆熊之性情之教的背景中,重 新建構庭園美學的七個美學特徵,進行中國庭園的本體美學的詮釋。 |
| 英文摘要 | Cheng Chao-Shung’s seven aesthetic characteristics of the ontological aesthetics of Chinese gardens, derived from his works “The Characteristics of Chinese Garden Art” and “Aesthetics and Beautification”, are rooted in his concept of the education of humanity and feeling and possess profound ontological interpretation. Cheng Chao- Shung elucidates these seven characteristics as follows: First, expressing the infinite through the finite. Second, revealing depth within refinement. Third, immersing mind in things, forgetting both self and object. Fourth, lively spirit and rhythm. Fifth, exquisite beauty and charm. Sixth, in the annihilation of mind and matter, there is a serene grandeur within the unity of change. Seventh, seeking the unity of the finite and the infinite, finding sublime simplicity within complex simplicity. Shinichi Hisamatsu’s book Zen and Art elucidated the characteristics of Zen art works through seven features. He primarily discusses Zen calligraphy and tea, but Zen gardens can also be an application of Zen aesthetics. Hisamatsu’s concept of the formless self, using formlessness to explain the self or subjectivity, is not entirely appropriate and has not yet progressed to the more proactive concepts of “non-thought as the original principle” and “non-abiding as the root.” This article compares and re-examines Hisamatsu’s seven features of Zen art in Zen and Art, using Cheng Chao-Shung’s seven aesthetic features of Chinese garden aesthetics as a framework. Within the context of Cheng Chao-Shung’s teachings on the education of humanity and feeling, this article reconstructs the seven aesthetic features of garden aesthetics, offering an interpretation of the ontological aesthetics of Chinese gardens. |
本系統中英文摘要資訊取自各篇刊載內容。