Openness of Being: The Question Emptiness in Chinese Landscape as seen from Heidegger''s Discourse on Art

• Main Authors: Siou-Sia Lin, 林秀霞
• Other Authors: Mathias Obert
• Format: Others
• Language: zh-TW
• Published: 2012
• Online Access: http://ndltd.ncl.edu.tw/handle/51126966944394744600

碩士 === 國立中山大學 === 哲學研究所 === 100 === With respect to art, we mainly discuss the issue of ''space'', and we generally believe that there exists the so-called ''art-space''. However, Heidegger considers art in a very different way which is phenomenological. With phenomenological reduction, he reinterprets how the art-space exists, and he also endows art with a brand new meaning, that is, “opening” , which is the way one expresses oneself. Nonetheless, Heidegger explains art in a dialectical way, that is to say, the negative way. However, that is the reason for Chinese landscape painting to be painted. In this essay, I try to yield further evidence for Heidegger ''s theory, by investigating into Chinese landscape painting. The ''art-space'' is hidden by the ''blank'' spot of the landscape painting, so it is not emptiness, but gathering ''space'', ''space itself'', and ''light'' into a whole; at the same time, it shows truth, which is lived truth. The ''art-space'' does not come from imitating, but from a ''text-space'' between likeness and unlikeness.