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一、新器物——艺术与大众距离的桥梁新时代艺术家们手下的中国画中时常会出现日常物件:耳机、手机……可见当代艺术家们对于日常器物在绘画中出现的“需要”和“渴求”。不过,“器物”本身不可能永远停留在可见可触摸的层面,换而言之就是“器物”的边界远远超出了物理上的客观存在。在《物的追问:康德关于先验原理的学说》一书中,对此已经做出了区分,海德格尔说:“我们现在意指环绕着我们的诸物,我们理解这些最切近的、最清楚不过的东西。由此我们注意到,女仆的嘲笑中我们显然学到了某些东西,她表达的是,人们应该首先好好关注环绕在我们周围的东西。”从海德格尔的话中,我们可以听到并认为当我们开始重视而不是被忽略“物”。
First, the new artifact - the bridge between the art and the public New artists often appear in the hands of Chinese daily objects: headphones, cell phones ... ... visible contemporary artists in the painting appear in the “need” and “Crave”. However, “objects” can not by themselves remain permanently visible or touchable, in other words, the boundaries of “objects” far beyond the physical objective existence. He has made a distinction in “The Questioning of Objects: Kant’s Doctrine of Transcendental Theories,” which Heidegger said: “We now mean the things that surround us, and we understand these closest , The clearest thing, and from that we noticed something that we apparently learned from the maid’s mockery, and she said that people should first and foremost pay attention to what surrounds us. ”“ From Heidegger’s words We can hear and think that when we begin to value rather than be overlooked ”things".