The Great Image Has No Form, or On the Nonobject through Painting pdf epub mobi txt 电子书 下载 2026
- 美学
- 艺术史
- 镜像依存
- 中国
- 西方
- 哲学
- 于连
- 东方
- 艺术史
- 绘画
- 哲学
- 非对象
- 图像学
- 观念艺术
- 形而上学
- 美学
- 当代艺术
- 视觉文化
具体描述
In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experience. Considering their art alongside the philosophical traditions that inform it, "The Great Image Has No Form" explores the 'nonobject' - a notion exemplified by paintings that do not seek to represent observable surroundings. Francois Jullien argues that this nonobjectifying approach stems from the painters' deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted.
作者简介
目录信息
读后感
<Introduction> The genre of art that brings us closest to “thingness” is probably still life drawings, as apposed to abstract paintings that “transcend” concrete objects . Essentially speaking, it can be said to make a fundamental differentiation betwee...
评分<Introduction> The genre of art that brings us closest to “thingness” is probably still life drawings, as apposed to abstract paintings that “transcend” concrete objects . Essentially speaking, it can be said to make a fundamental differentiation betwee...
评分<Introduction> The genre of art that brings us closest to “thingness” is probably still life drawings, as apposed to abstract paintings that “transcend” concrete objects . Essentially speaking, it can be said to make a fundamental differentiation betwee...
评分<Introduction> The genre of art that brings us closest to “thingness” is probably still life drawings, as apposed to abstract paintings that “transcend” concrete objects . Essentially speaking, it can be said to make a fundamental differentiation betwee...
评分<Introduction> The genre of art that brings us closest to “thingness” is probably still life drawings, as apposed to abstract paintings that “transcend” concrete objects . Essentially speaking, it can be said to make a fundamental differentiation betwee...
用户评价
读完这本书的序言，我的脑海中已经开始涌现出无数个关于“意象”与“形体”之间关系的思考。书名《The Great Image Has No Form, or On the Nonobject through Painting》本身就充满了挑衅性，它挑战了我们对“形象”根深蒂固的认知。一直以来，我们习惯于将“形象”等同于“看得见摸得着”的具体事物，但作者似乎在告诉我们，真正的、伟大的“意象”是超越了这种狭隘的定义的。它可能是一种感受，一种情绪，一种哲学理念，甚至是一种宇宙的真理，它们虽然没有具体的形态，却能通过艺术家的巧妙构思，在观者的心中激起共鸣。我特别被“非物”（Nonobject）这个概念所吸引，这让我联想到佛教中的“空”的概念，以及道家追求的“无为而无不为”。作者是如何将如此抽象的概念，与“绘画”这一看似具体的艺术形式结合起来的呢？这需要何等的洞察力和表达能力？我期待着在接下来的章节中，作者能够为我揭示出绘画如何成为通向“非物”世界的桥梁。或许，我们会看到一些抽象表现主义的影子，又或许，作者会从更深层次的哲学角度，去解构绘画与实在的关系。这本书无疑是一场智识的盛宴，它邀请我去探索艺术的边界，去感受那些无形却强大的力量。
评分这是一本从书名就充满了哲学思辨的书，《The Great Image Has No Form, or On the Nonobject through Painting》。它没有直接给出答案，而是提出一个问题，一个邀请，邀请我去深入思考“意象”的本质，以及“绘画”作为一种艺术形式，如何能够超越物质的束缚，触及到“非物”的境界。我对此深感好奇，因为在我们日常的认知中，“意象”往往与具体的形态紧密相连，而“绘画”通常被视为一种“造物”的过程。然而，作者却似乎在颠覆这种惯性思维，他/她告诉我们，真正的、伟大的“意象”是没有固定形体的，而绘画，却可以成为通往“非物”世界的桥梁。这其中的矛盾与统一，让我对作者的洞察力充满期待。我猜测，这本书可能会深入探讨诸如象征主义、抽象表现主义等艺术流派，但更重要的是，它将从更深层次的哲学角度，去解析艺术的内在逻辑。它也许会触及到“道”的境界，关于“无形”生“有形”，又“有形”归于“无形”的哲学观念。我期待着，这本书能够为我打开一扇新的窗户，让我以一种全新的视角去审视艺术，去理解那些隐藏在画面背后，触动心灵深处的、无形而伟大的力量。
评分The title itself, "The Great Image Has No Form, or On the Nonobject through Painting," is an immediate declaration of intellectual intent. It speaks to a level of artistic and philosophical inquiry that goes far beyond superficial analysis. My mind immediately goes to the great abstract artists, the Minimalists, and even avant-garde movements that deliberately sought to eschew traditional representation. How did they manage to create impactful art that didn't rely on recognizable forms? The concept of the "nonobject" is particularly alluring. It suggests a departure from the material world, a move towards ideas, emotions, or even spiritual states that are inherently formless. The question then becomes: how can painting, a visual medium, effectively communicate these non-material aspects? I suspect the author will explore how composition, color theory, brushwork, and the very interaction between the artwork and the viewer can create meaning that transcends the physical canvas. This is not a book for passive consumption; it demands active engagement from the reader, a willingness to question assumptions about art and perception. I anticipate a challenging yet rewarding read, one that will undoubtedly push the boundaries of my understanding and leave me with a renewed appreciation for the power of art to evoke experiences that lie beyond the tangible. It promises to be a journey into the profound, a quest to understand how the intangible can be made manifest through the brushstroke.
评分The very title, "The Great Image Has No Form, or On the Nonobject through Painting," is a masterclass in provocation. It immediately sets a tone that is intellectual, philosophical, and deeply intriguing. As a reader, I'm drawn into a space of curiosity, compelled to understand how something as seemingly tangible as a painting can lead to the concept of "no form" and the "nonobject." This isn't a book that promises easy answers or straightforward interpretations. Instead, it feels like an invitation to a profound inquiry, a journey into the very nature of perception and representation. I'm already contemplating the artists who have, throughout history, strived to convey emotions, ideas, and spiritual truths that defy simple visual representation. How did they manage to imbue their canvases with a power that transcends the physical medium? The emphasis on "nonobject" is particularly fascinating. It suggests a departure from the literal, a move towards something more ethereal and conceptual. Could this be about capturing the essence of a subject rather than its mere appearance? Or perhaps it's about exploring the psychological impact of art, the way it can evoke internal experiences that are inherently formless? I anticipate that this book will challenge my preconceived notions about what constitutes art and how we engage with it. It promises to be a stimulating read that will likely leave me with more questions than answers, in the best possible way, pushing the boundaries of my understanding and appreciation for the artistic process.
评分我刚翻开这本书的封面，就被它散发出的那种宁静而深邃的气息所吸引。书名——"The Great Image Has No Form, or On the Nonobject through Painting"——宛如一道门，开启了我对绘画与哲学交融的想象。它不像市面上许多艺术评论那样，直接罗列名家名作，然后进行一番肤浅的解读；相反，它似乎在邀请我进行一场智识的探险，去追寻那些超越了具体形象的、更为本质的“意象”。我开始好奇，当作者提到“伟大的意象没有形体”时，他/她所指的究竟是什么？难道是那些触及灵魂深处的情感，或是那些只能意会不可言传的哲学观念？而“非物”这个词，更是激发了我无限的遐想，它是否暗示着一种对物质世界的超越，一种精神层面的升华？我迫不及待地想知道，作者是如何通过“绘画”这一媒介，来阐释这种“非物”的观念。绘画，通常是我们认知世界、理解具象事物的最直接方式之一，但作者却试图用它来表达“无形”的“非物”，这其中的挑战与创新，让我充满期待。我猜想，这本书或许会颠覆我过往对艺术的理解，让我开始审视那些潜藏在绘画表面之下的、更深层的意义，去感受那些不以形迹示人，却能直击心灵的艺术力量。
评分刚看到这本书的书名《The Great Image Has No Form, or On the Nonobject through Painting》，就有一种被深深吸引的感觉。它不像那种一眼就能看穿的书，而是像一扇神秘的门，里面藏着等待被揭开的秘密。我立刻就开始想象，作者会如何去探讨“伟大的意象”与“没有形体”之间的关系。我们通常理解的“意象”，不都是通过具体的形态来呈现的吗？但作者却说“没有形体”，这其中的哲学意味太浓厚了，让我非常好奇。难道是指那些能够触动人心最深处，却又无法用语言或具体形象来完全表达的情感、思想或者精神状态？而“通向非物”，更是让我浮想联翩。这是否意味着，艺术不仅仅是对现实世界的模仿，更是能够引领我们超越物质的束缚，去感悟更深层次的存在？作者选择“绘画”作为媒介来探讨这个议题，这一点也十分有趣。绘画本身就是一种可视化的艺术，那么，它是如何做到“非物”的呢？是通过抽象的笔触，还是通过色彩的搭配，亦或是通过观众的主观解读？我迫不及待地想要知道作者的论证过程，想要跟随他/她的笔触，去探索那些潜藏在画作表面之下，更为深刻、更为本质的艺术力量。这本书，在我看来，是一次关于艺术、哲学与认知的深度对话，它注定会给我带来一场思维的洗礼。
评分这本书的名字本身就散发着一种哲学性的神秘感，"The Great Image Has No Form, or On the Nonobject through Painting"——“伟大的意象没有形体，或论绘画如何通向非物”。光是这个标题，就足以让任何一个对艺术、哲学，乃至存在本身有所思索的人停下脚步，好奇地拿起它。我不禁联想到早期那些试图捕捉瞬间、超越具象的艺术家们的努力，他们是如何在画布上挥洒墨迹，试图传达那些无法用简单线条和色彩勾勒的本质。这本书仿佛在邀请我进行一场跨越时空的对话，与那些挑战视觉惯性、探索感知边界的先驱们一同前行。我猜想，作者一定是一位极具深度和洞察力的人，他/她没有选择直接给出答案，而是抛出了一个引人入胜的问题，鼓励读者自行探索。这种“非物”的表达，是否意味着要超越我们习以为常的“物”的定义？绘画，作为一种视觉艺术，本应是“有形”的，但作者却说“伟大的意象没有形体”，这其中的张力，以及由此产生的无限可能性，让我心生向往。我期待着在这本书中，能够找到理解这种矛盾的钥匙，或许它会开启我对艺术的全新认知，让我看到那些潜藏在表象之下，更深邃、更根本的真实。它不是一本告诉你“是什么”的书，而是一本引导你去“感受”和“思考”的书，去发现那些隐藏在“无形”中的“大象”。
评分This book's title, "The Great Image Has No Form, or On the Nonobject through Painting," is less of a title and more of a philosophical proposition. It immediately suggests a depth and complexity that promises to engage the mind rather than merely entertain. My initial reaction is one of intrigue bordering on a mild intellectual challenge. How can an "image," by its very definition, be "formless"? And what does it mean to achieve a "nonobject" through the act of painting, an art form intrinsically tied to visual manifestation? This sets up a fascinating tension. I envision the author delving into a critique of representational art, perhaps arguing that true artistic impact lies not in accurate depiction but in the evocation of something intangible. The term "nonobject" is particularly resonant; it hints at concepts I've encountered in abstract art, Eastern philosophies, and even certain branches of quantum physics, where the observer's role and the nature of reality itself are called into question. I anticipate a sophisticated exploration of how artists have pushed the boundaries of perception, utilizing color, texture, composition, and even the viewer's own subjective experience to create meaning. This isn't going to be a paint-by-numbers guide to art appreciation. Instead, it feels like a deep dive into the conceptual underpinnings of art, urging the reader to question the very essence of what we see and what we understand. I'm ready for an intellectual journey that might fundamentally alter my perspective on art and existence.
评分《伟大的意象没有形体，或论绘画如何通向非物》——这个书名本身就如同一个精巧的谜语，瞬间勾起了我内心深处的求知欲。它不像那些直白地告诉你“这本书讲了什么”的书，而是以一种诗意的、哲学性的姿态，抛出了一个引人深思的议题。我立即联想到那些试图超越具象描绘，探索内在情感与精神世界的艺术家们。他们是如何在画布上，用色彩与线条，去捕捉那些无形却又深刻的“意象”的？“伟大的意象没有形体”，这句话包含了多么大的悖论和哲学张力！这让我好奇，作者是如何在这种看似矛盾中找到连接点的。而“通向非物”，更是让我脑海中浮现出种种可能性，它是否是一种对物质世界的反思，是对精神领域更深层次的探索？我迫切地想知道，作者将如何运用“绘画”这一媒介，来阐述“非物”的哲学。绘画，通常是我们理解和认识“物”的工具，但在这里，它却成为了通向“非物”的路径。这其中的逻辑和方法，无疑是这本书最引人入胜的部分。我期待着，它能为我打开一扇新的视角，让我重新审视艺术的本质，以及我们与世界互动的方式。这不仅仅是一本关于艺术的书，更是一次关于存在和认知的哲学之旅。
评分The title alone, "The Great Image Has No Form, or On the Nonobject through Painting," is a declaration of intent that promises a departure from conventional art discourse. It's a title that resonates with a certain intellectual gravitas, suggesting a deep exploration of the philosophical underpinnings of art. My immediate thought is that this book will likely challenge the reader's preconceived notions of what art is and how it functions. The notion of a "great image" having "no form" is a powerful paradox. It hints at a realm of artistic expression that transcends the purely visual, delving into the realm of concepts, emotions, and perhaps even spiritual experiences. The phrase "on the nonobject through painting" further intrigues me. It implies that painting, a medium often associated with creating tangible objects, can actually serve as a gateway to understanding or experiencing something that is fundamentally non-material. I anticipate that the author will delve into how artists have historically pushed the boundaries of representation, using the very tools of their craft to evoke something beyond the literal. This could involve discussions on abstraction, symbolism, and the power of suggestion. I'm eager to see how the author connects the practice of painting to the philosophical concept of the nonobject, potentially revealing new ways of understanding art's impact on our consciousness and our perception of reality. This is a book that promises to be a stimulating intellectual journey, urging a deeper engagement with the very essence of artistic creation.
评分尽管作者的诠释已经算靠谱，但还是感觉怪怪的，谁让translation is impossible呢，更何况这种只能意会无法言传玄之又玄的东方哲学
评分尽管作者的诠释已经算靠谱，但还是感觉怪怪的，谁让translation is impossible呢，更何况这种只能意会无法言传玄之又玄的东方哲学
评分比中文翻译的好读
评分比中文翻译的好读
评分比中文翻译的好读
相关图书
本站所有内容均为互联网搜索引擎提供的公开搜索信息，本站不存储任何数据与内容，任何内容与数据均与本站无关，如有需要请联系相关搜索引擎包括但不限于百度，google,bing,sogou 等
© 2026 book.quotespace.org All Rights Reserved. 小美书屋 版权所有