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在五四新文化运动中,吕澂并不是写实论者,而是本体论者,即强调美术的普遍意义和价值,强调“本体性冲动”。吕澂解释了“观照表出”的审美活动,提出了“我们所认识的实在只是我们自心所构造的实在”这一重要命题,其理论基点就是“生”之扩充论——人因本能的冲动而发生美术活动,其特质就在于“生”的扩充,并由此而展开一种正当的人生。同时,吕澂比较了佛教与美术,认为美术的最高境界是自由,而佛教的理想境界是正觉,两者在“生”的正当性上是相同的,但发展路径不同,故无需以美术代宗教。
During the May Fourth New Culture Movement, Lu was not a realisticist, but an ontologist who emphasized the universal significance and value of fine arts and emphasized “the noumenon.” Lu 澂 explained the aesthetic activity of “watch out” and put forward the important proposition that “what we know is only the reality that we construct ourselves”, and its theoretical basis is the expansion of “life” - human instinct The impulse of art activities, the trait is that the “students” of the expansion, and thus unfold a legitimate life. In the meantime, Lvliang compared Buddhism with fine art, holding that the highest level of art is freedom, and Buddhism’s ideal realm is positive. Both are identical in the legitimacy of “living” but have different development paths, religion.