{"id":2815,"date":"0001-12-16T09:52:00","date_gmt":"0001-12-16T09:52:00","guid":{"rendered":"https:\/\/www.hanart.com\/?p=2815"},"modified":"2025-08-07T10:37:37","modified_gmt":"2025-08-07T10:37:37","slug":"cao-xiaoyang-shanshui-landscape-a-third-path-%e3%80%8a%e9%a2%a8%e6%99%af%e5%92%8c%e5%b1%b1%e6%b0%b4%ef%bc%9a%e7%b9%aa%e7%95%ab%e7%9a%84%e7%ac%ac%e4%b8%89%e6%a2%9d%e8%b7%af%ef%bc%9f%e3%80%8b","status":"publish","type":"post","link":"https:\/\/www.hanart.com\/zh\/cao-xiaoyang-shanshui-landscape-a-third-path-%e3%80%8a%e9%a2%a8%e6%99%af%e5%92%8c%e5%b1%b1%e6%b0%b4%ef%bc%9a%e7%b9%aa%e7%95%ab%e7%9a%84%e7%ac%ac%e4%b8%89%e6%a2%9d%e8%b7%af%ef%bc%9f%e3%80%8b\/","title":{"rendered":"CAO Xiaoyang: SHANSHUI + LANDSCAPE: A Third Path? \u300a\u98a8\u666f\u548c\u5c71\u6c34\uff1a\u7e6a\u756b\u7684\u7b2c\u4e09\u689d\u8def\uff1f\u300b"},"content":{"rendered":"\n

Jiang Jun
2014<\/p>\n\n\n\n



SHANSHUI<\/em>\u00a0+ LANDSCAPE:A Third Path?<\/strong>
Jiang Jun<\/strong>

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I.<\/p>\n\n\n\n

After many years under Xiaoyang\u2019s tutelage, it never occurred to me that I would be asked to write about his art, and I must confess that the thought of it makes me a little uneasy. I am more of a theorist: I have never undertaken any formal study of Chinese art in the academy, and have only had opportunity to study the fundamentals of Western art. So before elaborating on Xiaoyang\u2019s work, I would like to begin my discussion with a more theoretical overview of some of the cultural differences between the concepts of Chinese\u00a0shanshui\u00a0<\/em>and Western landscape painting.

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Though Xiaoyang has been clearly influenced by Northern Song painters, people often describe his art as evincing a constant conflict between the stylistic elements of\u00a0fengjing<\/em>\u00a0(or landscape in the Western sense) and\u00a0shanshui\u00a0<\/em>(or landscape in the Chinese sense; lit. \u2018mountains and water\u2019). Although Xiaoyang professes little interest in the problematics of this issue, he does address it from the angle of the practicing artist.

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Looking at the evolution of the term \u2018landscape\u2019, we must begin with Old English from which the term originally derived. Like German, Old English is Proto-Germanic in origin. In German, the word for scenery is\u00a0Landschaft<\/em>, composed of the word Land (Earth, Country) and the suffix\u00a0schaft<\/em>, which comes from the German word\u00a0schaffen<\/em>\u00a0(to create). Thus the literal meaning of this word in Proto-Germanic is the creation of a piece of land. Its construction is similar to that of another German word,\u00a0Freundschaft\u00a0<\/em>(Friendship)\u2014the creation of friends (Freund-schaffen<\/em>). In twelfth-century Middle High German,\u00a0Landschaft\u00a0<\/em>meant life on a piece of land, or a group of people indigenous to a particular location. It was not until the Renaissance that this term came to mean a fragment of land extracted from Nature. During the sixteenth century\u00a0Landschaft<\/em>\u00a0gradually expanded to encompass the meaning of Landscape in English (Landshap<\/em>\u00a0in Dutch). Within these words we can undoubtedly see traces of creationism in the language, regardless of its Christian, Hellenistic or Nordic roots. Landscape is the piece of land that mankind salvaged from the chaos, and it exists within a framework of objective rules and order.

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In Chinese, the term\u00a0shanshui\u00a0<\/em>is a combination of, and interaction between, the words mountains (shan<\/em>) and water (shui<\/em>). Mountains are associated with\u00a0yang<\/em>, and the water with\u00a0yin<\/em>. It is from the interaction between\u00a0yin<\/em>\u00a0and\u00a0yang<\/em>\u00a0that all the things of creation comes into being. The interaction between mountains and water creates myriad different, possible landscapes. In the Chinese worldview, the beginning of life did not occur on a tempestuous night with an active god and a passive world suddenly coming into being, but rather emerged gradually through the silent interaction between\u00a0yin<\/em>\u00a0and\u00a0yang<\/em>. Because the Chinese view of creation is not predicated on a conflict between man as subject and world as object, China never developed a creation myth in the grand manner of the Homeric epics of Ancient Greece.

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In the aftermath of World War II, the philosopher Martin Heidegger was banned from teaching in his native Germany for several years. In the interim, he and the Chinese academic Xiao Shiyi translated the\u00a0Laozi\u00a0<\/em>together in a small house in Todtnauberg. From that moment onwards, we can see Laozi\u2019s Heaven, Earth, Sky and the ever-changing Dao emerge within Heidegger\u2019s \u2018fourfold\u2019 unity of Earth, Sky, Divinities and Mortals.

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In Heidegger\u2019s schema, in the moment when Earth, Sky, Divinities and Mortals come together in a \u2018gathering\u2019, the myriad things of the world are illuminated and revealed to us; and man exists within a \u2018poetic dwelling\u2019. This is a classic example of what Heidegger described in later years as not only the pursuit of an ideal poetic life, but as a serious response to and revolt against increasing technologization, and the \u2018flattening\u2019 of the world brought about by modernization, industrialization and capitalism. Heidegger differentiates between \u2018producing\u2019 (Hervorbringen<\/em>, literally \u2018bringing forth into being\u2019) and \u2018happening\u2019 (Geschehen<\/em>). In analyzing the alienation caused by modern technology, Heidegger traces its roots to the early years when philosophy was just being formed in Ancient Greece.

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When the world was understood by Plato as a binary of form and sense-perception, and sense-perception was viewed as a mimesis of form; when the idealized Republic was set up as the model of utopia (a theoretically perfect nation), the brutalization of the world by the tools of modernity was already implicit. The most crucial thing is that it established a relationship between the creation or production of an object (Hervorbringen<\/em>) and the passive material; and science was founded upon this principle. Conversely,\u00a0Geschehen<\/em>\u00a0(happening) does not distinguish between the active and the passive, and does not attempt to clarify the meaning of the world. Rather, it encompasses a multidimensional understanding and interpretation, allowing different components to resonate with each other. It is constantly at work in our relationships, and you can neither extract nor conceptualize it. In China, we call this principle\u00a0qi<\/em>, and it is the action of\u00a0qi\u00a0<\/em>that gives impetus to the interaction between\u00a0yin<\/em>\u00a0and\u00a0yang<\/em>. Therefore, our Western concept of landscape (Landschaft<\/em>) and the intentionality of the Chinese concept of\u00a0shanshui<\/em>\u00a0make evident that there are two fundamentally different understandings of the world: Was the world created? Or did it silently come into being\/happen?

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The concept of creating (manufacturing) form has developed alongside the Cartesian notion of the subject-object dichotomy and the formation of human subjectivity, which perceives the world as an objective image external to man, a passive object-material that can be moulded and dominated by active man; and it is within these conditions that our contemporary technology and tools came into being. Technology attempts to simplify the world\u2019s many dimensions and meanings, to judge everything through one single standard of rationality, and has refuted everything that does not fall within the boundaries of its universe as falsehoods and superstition. At last the technological mentality has become a living creature in itself, and has come to determine the logic of our lives alongside capitalism, suppressing our humanity within the cogs of its machinery. We live in an age of artificial autonomy, where our physical selves have gradually detached themselves from nature, detached themselves from the difference between dawn and dusk, from the change in the seasons, and from a life rooted in nature. We live in an artificial arena of isolation, where production and endless consumerism determines our existence.

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The act of viewing a Western-style landscape painting is unquestionably predicated on the audience\u2019s role as subject. On one level, the audience acquires a kind of control over a unified space, and as such is in the secure position of self (the subject) external to the painting. Yet, on another level, the audience\u2019s position is fixed at a point in which things happened in the past, such that the past is forever left open in the present. My personal experience of viewing Chinese\u00a0shanshui<\/em>\u00a0painting, however, is completely different. Rather than being in a fixed, external position, I find my \u2018self\u2019 dissolving into the composition of black and white as my eyes follow the pathways created by the unrolling and closing of the scroll. I finally understand the \u2018happy sojourn\u2019 that Zhuangzi spoke of, and feel myself suddenly liberated from status, responsibilities, and personal relationships in the mundane world. In viewing, I am able to free myself from space\u2019s rigid fixity and to sojourn (you<\/em>) freely, leaving time behind. \u2018Sojourning\u2019 in the Chinese sense is a kind of repeated alternation between external and internal: it opens up a portal into untrammelled freedom, towards a transcendent state where one forgets both self and the object.

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Ever since the rules of perspective were first established, European art has attempted to unite both space and time within the frame. \u00a0The segments of sequential time that are made manifest through the application of perspective are expressions of the subjective gaze and the control of time. The past becomes forever frozen in the continuous present, trying to break through to the audience. Time in German is \u2018Zeit<\/em>\u2019, originating in the Old German word \u2018z\u00eet<\/em>\u2019: \u00a0the original meaning is \u2018to cut off\u2019 (Abgeteilt<\/em>). The English word \u2018time\u2019 originated in Proto-Germanic \u2018timon-<\/em>\u2019, meaning \u00a0\u2018division\u2019. This cannot but remind us of the European attitude towards the problem of time: using the different stages of past, present and future to describe the temporal structure of narrative. In Chinese, the compound word for time (shijian<\/em>) was adopted from the Japanese translation of the English word, which first appeared in\u00a0Asano Shinbun\u00a0<\/em>in 1874. In 1907 China imported this newly created word from Japan: Prior to this, East Asian philosophy contained no theoretical division of time and space. The eighteenth-century German art critic Lessing emphasized \u2018the purity of time\u2019 as a standard for art in his essay \u2018Laoco\u00f6n: An Essay Upon the Limits of Poetry and Painting\u2019 (1776). In this work, he argues against the tendency to take\u00a0Horace<\/a>\u2018s\u00a0ut pictura poesis<\/em>\u00a0(as painting, so poetry) as a prescriptive for literature. In other words, he objected to trying to write poetry using the same devices as one would in painting. Instead, poetry and painting each has its character (the former is extended in time; the latter is extended in space).

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He believed that paintings and sculptures were both spatial forms of art, in which a moment in time becomes solidified. Conversely, literature and music are temporal forms of art, because they unfold over the course of reading. Anything that goes beyond the main point of the piece of artwork becomes transgressive, because it interrupts the purity of the art experience. Because a painter can only capture one moment in time, Lessing advises to \u2018choose the significant moment wisely\u2019 as that moment will allow the viewer to guess the events prior to and following it. European languages historically differentiate between the verb \u2018to watch\u2019 and the verb \u2018to read\u2019 and this conceptual difference is clear in the academic theories of art of the eighteenth and nineteenth centuries, just as it is in Lessing\u2019s idea. The same is true of the Impressionist art that followed, where the theme of the instantaneity of the moment is clearly expressed.

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In Chinese, however, there is no distinction between viewing and reading, since both are a form of active movement. Reading calligraphy is an action that unfolds in time. Similarly, surveying a\u00a0shanshui<\/em>\u00a0painting is like becoming a traveller, wandering among the alternating ink trails of black and white, admiring the abstract beauty created by brush and ink. Later\u00a0shanshui<\/em>\u00a0paintings often had accompanying poetic inscriptions, which exemplifies the idea that looking and reading are similarly structured. Tenses do not exist in Chinese, so time as we observe it is not truncated, but continuous. We do not stop in the present, for it is in the never-ending ebb and flow of dynamic change, the constant interactions between the object and the subject, in which we see the workings of objects in development, observing and creating a subtle, quiescent atmosphere. The Western understanding of the present in English, the verb \u2018to exist\u2019, is attributed to the noun form of the verb \u2018to be\u2019, and can also be understood to mean that \u2018beingness\u2019 is conducted in the present moment. Since \u2018existing\u2019 is the same thing as \u2018being present\u2019 or the now, because it is in the theatre of the present, therefore it has been affirmed as existing. In Chinese \u2018to be present\u2019 (zai\u00a0<\/em>or\u00a0zaichang<\/em>) is simultaneously a term for the present itself.

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The Chinese conception of the world neither rests on the objective physics of Aristotle physics nor the subjective psychology of Augustine, but in a commonality of subject, object, Heaven, and Earth. Time does not exist in a neutral, objective manner, nor is it a subjective sense\/understanding: it is a cycle of exchange between the four seasons, between\u00a0yin<\/em>\u00a0and\u00a0yang.<\/em>\u00a0Time is present in the changes in the weather, and in the cycle of seasons celebrated by every agricultural festival; it is present also in the continual interchange between\u00a0yin<\/em>\u00a0and\u00a0yang<\/em>. Agriculture, nature and human activity are developed in accordance with both human relations and heavenly will. The subject in this way is integrated with the constant flux of the objective world, constantly interacting with the object.

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When my understanding of the art of painting was still very superficial, I had the good fortune of being mentored by Mr. and Mrs. Cao once or twice a week in private sessions that I still cannot forget. They helped nurture in me a more genuine understanding of how to observe the world, so that my later theoretical studies could be founded on a more direct and authentic knowledge; at the same time these sessions allowed me to develop a deeper understanding of Xiaoyang\u2019s artistic methodology and thought processes. Consequently, my comparative discussion of\u00a0shanshui<\/em>\u00a0and landscape takes place on a historical, cultural and physical level.

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When an artist sketches a landscape (fengjing<\/em>) and composes his picture according to the method of Western perspective, is he merely turning his subject into an object? Is he not also enveloped in the scents of nature, the humidity of the air, the sensation of a breeze wafting by, and the warmth of the sun? Can it be that he is simply laboring to express his control over nature? Or has he forgotten that he is just one small part of the vastness of Creation? In seeking to learn from nature, the artist shares something important in common with every Song-dynasty\u00a0shanshui<\/em>\u00a0artist who strove to attain the state of oneness with Nature, and also with any Renaissance painter who strove to understand God\u2019s plan through his close observation of Nature. Just as we exclaim over the uncanny ability of the Song painter to understand the true nature and pattern of things and to capture the minutiae of creation, and his ability to wield his man-made implements to recreate the acts of Creation, we can also marvel at the humanistic approach of the Rennaissance artist, the meticulous and conscientious way in which he seeks to understand and capture the cosmic design through his careful sketches from Nature. In Florence they called this \u2018disegno<\/em>\u2019\u2014 sketching as a means of approaching the ideal form (logos<\/em>) of the objects of the world. We cannot say that the Renaissance artist did not share the Song painter\u2019s exquisite awareness of Man\u2019s place in the universe between Heaven and Earth: compared to both, those of us living in the modern world inhabit an artificial greenhouse isolated from the changes in season and the patterns of the crops. Equally, we cannot say that because the Song painter was unaware of Plato\u2019s Theory of Forms, that he lacked the Renaissance artist\u2019s powers of observation\u00a0vis a vis<\/em>\u00a0the external world; for the Song artist was not only following the metaphysical Dao, he also was seeking to capture the forms of the observable world.

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Xiaoyang was born into the world of the print artist, the world of Western painting, but in the end he has returned to a deep awareness of the Chinese\u00a0shanshui\u00a0<\/em>tradition. Pastoral paintings and landscapes flourished in Europe in the late eighteenth and nineteenth centuries, as seen in the eternal cycle of seasons depicted in the rural countryside of Jean-Fran\u00e7ois Millet\u2019s work, and the sacred solemnity found in the scenery of German romantic painter Johann Friedrich Overbeck. These paintings found an enthusiastic reception in a Europe that was in the throes of industrialization\u2014a Europe that was in fact similar to China today, in the throes of a rapid and ubiquitous process of modernization and industrialization. Whether it was a French pastoral painting or a German Romantic landscape, all were responses to and reactions against the social unrest and alienation brought about by industrialization and capitalism.

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Pre-modern Chinese lived with a different system, a more authentic system of shanshui<\/em>, which the literati termed a \u2018cultivated shanshui<\/em>\u2019: the shanshui<\/em> garden created by the symbolism of artificial mountains, or the shanshui<\/em> painted on screens; framed within a hanging scroll; contained within the handscroll shelved amidst scrolls of poetry and calligraphy; residing in the pengjing<\/em> (basin landscape) placed upon the scholar\u2019s desk. People of the time did not only sojourn through cityscapes and physical landscapes, but also undertook spiritual sojourns through the shanshui<\/em> constructed by poetry and calligraphy, gardens and paintings. When I walked among the misty paths of Huang Shan mountain, encountering the exhilaration on the faces of the other hikers there, and following the undulations of the meandering mountain paths, I suddenly understood the unique cultural significance of the Chinese concept of you<\/em> (to sojourn, roam, wander)\u2014people in movement situated within the turning of all creation, and the presence of the heavenly principle (tianli<\/em>) reflected in human activity.<\/p>\n\n\n\n

We live in an age of Le Corbusier\u2019s\u00a0La Ville Radieuse<\/em>\u00a0(The Radiant City<\/em>), and continue our quest for development in big cities (in addition to the wide highways in new cities for cars). The culture of\u00a0you<\/em>\/sojourning is absorbed into our new modes of living, to the extent it that becomes a fictitious, virtual wandering. For Xiaoyang, the intentionality of his paintings is not so much to provide the viewer with the experience of sojourn, but rather to engage in a process of self-cultivation. Through the intensity with which he creates his marks on the paper\u2019s surface, Xiaoyang seeks to discover a spiritual detachment from an increasingly fast-paced world, a kind of personal, contemporary vision of Shangri-la. Art today is created and self-defined in an active mode of capitalistic production; Xiaoyang\u2019s passivity towards the market has effectively opened up for him an alternative aesthetic existence.

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A few years ago Xiaoyang and I were discussing where creative inspiration comes from, and he posed a question to me: \u2018Is the subject more important, or the image?\u2019 I said the \u2018image\u2019, whereas Xiaoyang was of the opinion that the subject was more important. Although he patiently explained his viewpoint to me, at the time I did not really grasp the true significance of his words. For contemporary artists, the subject is merely an insignificant point of reference: what is most important is that an artist has a uniquely individual form of expression. This has been the case since the mid-nineteenth century emphasis on \u2018art for art\u2019s sake\u2019. The subject is an intermediary; no one cares if it is correct or realistic\u2014it could simply be a collage of photographs that has been offhandedly combined and put together. Since the advent of early twentieth-century avant-garde abstraction, we have become accustomed to discussing art as being composed of abstract dots, lines, surfaces, and overlooking our experience of the actuality of the object. On the other hand, the Chinese literati tradition has produced an appreciation for the abstract beauty of brush and ink and a high regard for the inherent allusiveness of brush-play. Xiaoyang once expressed his doubts about this tendency towards symbolism, since his extemporaneous\u00a0shanshui\u00a0<\/em>paintings do not share the referential character of traditional\u00a0guohua<\/em>\u00a0brush painting, where every stroke has its own provenance.

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This kind of disciplined, referential system in fact gradually moves further away from Nature: as per the theory of modular systems proposed by art historian Lothar Ledderose, is this not a kind of split between culture and nature? The materials of brush and ink constitute a module that was freely assembled and recomposed by literati artists, to take form as myriad\u00a0shanshui<\/em>\u00a0paintings of all types. Even though they have maintained the concreteness of a landscape perspective, there is little difference in their internal logic and that of the composite photographic image of contemporary art. Xiaoyang\u2019s control of charcoal as an artistic medium, his physical engagement with nature, his comprehensive training in and refinement of Western painting techniques, all combine to create a fluid form-memory, so that his sketchbooks are full of myriad expository visual expressions. He says that this constitutes a return to the methodology of the Northern Song; but I think that this is a methodology that allows the vitality of life to emerge, engendering not only intellectual pleasure but also an emotional reaction that you can feel coursing through your veins!

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Unlike the majority of artists in today\u2019s technology-saturated society, for whom Photoshop has become their \u2018best friend\u2019, Xiaoyang does not emphasize complete control over the image. Even as many contemporary artists use the excuse of being inspired by Richter\u2019s concept of the photographic duplicate to create innumerable non-originals, Xiaoyang has never leaned towards a superficial posturing of \u2018What is art?\u2019, pretending to be immersed in questions of ontology, but rather has always maintained an incomparable humility, retreating into the divine spirituality of his object. I am often surprised by how knowledgeable he is about the different forms of trees \u2014 where they begin to split into branches, how long each branch and leaf is, where the markings of elm trees come from. He has almost become a plant morphologist, a process inseparable from the long periods of life sketching outdoors in Nature. This is what he means by \u2018the importance of the subject\u2019. For me, this is embodied in the humility and gentleness with which he faces Nature, as he attempts to become one with Heaven and Earth.<\/p>\n\n\n\n

In this sense, Xiaoyang is an extremely traditional artist, continuing to use the ancient (pre-modern) methods to comprehend the world and to paint his\u00a0shanshui\u00a0<\/em>and landscapes. At the same time, compared with the majority of contemporary artists, he is also a true iconoclast, embracing and insisting on his own alternative path. Perhaps we could say that contemporary artists living in an age of digital copying have changed the conditions of the question \u2018what is painting\u2019 from within: On one hand, they have accepted the many conveniences that technology gives to visual expression, constantly mediating between the various intermediaries of the image. On the other hand they also remain fixated on creating the appearance of the hand-made painting. When compared with Song-period\u00a0shanshui\u00a0<\/em>paintings or Renaissance landscape paintings, the contemporary use of photographs as intermediaries in the painting process appears to be precisely what Heidegger described as \u2018technological alienation\u2019.

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Given the contemporary condition, we can say that the traditional distinction between\u00a0shanshui\u00a0<\/em>and landscape painting grows ever more insignificant.

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(Translation by Fernanda<\/em>\u00a0Lai\u00a0Oon Kei and Valerie C. Doran)<\/em><\/p>\n\n\n\n

(Note: This text is excerpted from Jiang Jun\u2019s original Chinese essay)

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\u64da\u8aaa\uff0c\u95dc\u65bc\u4ed6\u7684\u756b\u6709\u904e\u201c\u5c71\u6c34\u201d\u548c\u201c\u98a8\u666f\u201d\u7684\u7bc4\u7587\u4e4b\u722d\uff0c\u591a\u5c11\u7c21\u55ae\u5730\u53ef\u4ee5\u6b78\u7d50\u70ba\u4e2d\u570b\u5f0f\u98a8\u666f\u548c\u897f\u5f0f\u98a8\u666f\u7684\u5340\u5206\u3002\u96d6\u7136\u66f9\u516c\u5c0d\u65bc\u6b63\u540d\u554f\u984c\u8208\u8da3\u7f3a\u7f3a\uff0c\u4ed6\u66f4\u591a\u5730\u662f\u4ee5\u4e00\u500b\u5be6\u8e10\u8005\u7684\u89d2\u5ea6\u5207\u5165\uff0c\u4f46\u4fd7\u8a9e\u8aaa\u201c\u540d\u6b63\u8a00\u9806\u201d\uff0c\u6211\u4e5f\u5c31\u4ee5\u9019\u500b\u7531\u982d\u727d\u689d\u7dda\u4f86\u8ac7\u8ac7\u4ed6\u7684\u4f5c\u54c1\uff0c\u5f9e\u5c71\u6c34\u548cLandscape\u4e4b\u6587\u5316\u7570\u540c\u958b\u59cb\u4f86\u9806\u4e00\u4e0b\u8a00\u3002

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\u53e4\u82f1\u8a9e\u548c\u5fb7\u8a9e\u4e00\u6a23\uff0c\u90fd\u5c6c\u65bc\u65e5\u723e\u66fc\u8a9e\u652f\u3002\u5728\u5fb7\u8a9e\u4e2d\u98a8\u666f\u70baLandschaft\uff0c\u5b83\u7531Land\uff08\u571f\u5730\uff0c\u570b\u5bb6\uff09\u548c\u4e00\u500b\u5c3e\u78bcschaft\u7d44\u6210\u3002 \u800cschaft\u53c8\u6e90\u81ea\u5fb7\u6587\u8a5eschaffen\uff08\u5275\u9020\uff09\uff0c\u9019\u500b\u8a5e\u5728\u53e4\u65e5\u723e\u66fc\u4eba\u7684\u7406\u89e3\u4e2d\u662f\u5c0d\u4e00\u584a\u571f\u5730\u7684\u5275\u9020\u3002\u4e5f\u5c31\u5982\u4ed6\u5011\u7684\u53e6\u4e00\u500b\u8a5e\u4e00\u6a23\uff0cFreundschaft\uff08\u53cb\u8abc\uff09\u2014\u2014\u670b\u53cb\u7684\u5275\u9020\uff08Freund-schaffen\uff09\u3002\u572812\u4e16\u7d00\u7684\u53e4\u5fb7\u8a9e\u4e2d\uff0cLandschaft\u4e00\u8a5e\u662f\u6307\u751f\u6d3b\u5728\u4e00\u584a\u571f\u5730\u6216\u5730\u57df\u4e2d\u5c45\u6c11\u7684\u7e3d\u7a31\uff0c\u76f4\u5230\u6587\u85dd\u5fa9\u8208\uff0c\u9019\u500b\u8a5e\u624d\u8b8a\u6210\u81ea\u7136\u7a7a\u9593\u4e2d\u4e00\u500b\u7247\u6bb5\u7684\u622a\u53d6\uff0c\u523016\u4e16\u7d00\u9019\u500b\u8a5e\u624d\u64f4\u5c55\u5230\u82f1\u6587\u4e2d\u6210\u70baLandscape\u3001\u8377\u862d\u6587\u4e2dLandshap\u3002 \u5728\u5176\u4e2d\u6211\u5011\u4e0d\u96e3\u770b\u51fa\u4e16\u754c\u795e\u5275\u8ad6\u5728\u8a9e\u8a00\u4e2d\u7684\u9ad4\u73fe\uff0c\u5b83\u7121\u8ad6\u662f\u57fa\u7763\u6559\u5f0f\u7684\u3001\u5e0c\u81d8\u795e\u8a71\u5f0f\u7684\uff0c\u9084\u662f\u5317\u6b50\u795e\u8a71\u5f0f\u7684\uff0c\u98a8\u666f\u90fd\u662f\u88ab\u4eba\u5f9e\u6df7\u6c8c\u7684\u4e16\u754c\u4e2d\u89e3\u6551\u51fa\u4f86\u7684\u90a3\u4e00\u7247\u571f\u5730\uff0c\u9019\u500b\u98a8\u666f\u591a\u5c11\u5b58\u5728\u65bc\u90a3\u500b\u5ba2\u89c0\u7684\u898f\u5283\u548c\u79e9\u5e8f\u4e4b\u4e2d\u3002

<\/p>\n\n\n\n

\u4e2d\u6587\u4e2d\uff0c\u5c71\u6c34\u5247\u662f\u5c71\u548c\u6c34\u4e4b\u7d44\u5408\u3001\u4ea4\u878d\u3002\u5c71\u70ba\u967d\uff0c\u6c34\u70ba\u9670\uff0c\u9670\u967d\u4e92\u52d5\uff0c\u5247\u842c\u7269\u751f\u3002\u56e0\u800c\u5c71\u548c\u6c34\u7684\u4e92\u52d5\u4e5f\u69cb\u6210\u4e86\u6210\u5343\u4e0a\u842c\u7a2e\u98a8\u666f\u7684\u53ef\u80fd\u4e4b\u5f62\u614b\u3002\u5728\u6b64\uff0c\u751f\u547d\u7684\u8d77\u9ede\u4e0d\u662f\u5728\u4e00\u500b\u96f7\u96fb\u4ea4\u52a0\u7684\u591c\u665a\u7531\u90a3\u4f4d\u4e3b\u52d5\u7684\u5275\u4e16\u4e3b\u548c\u88ab\u52d5\u7684\u4e16\u754c\uff08\u88ab\u9020\u7269\uff09\u7a81\u7136\u69cb\u6210\u7684\uff0c\u800c\u662f\u5728\u7121\u8072\u7121\u606f\u7684\u9670\u967d\u4e92\u52d5\u548c\u4ea4\u5408\u4e2d\u6162\u6162\u5c55\u958b\u3002\u5b83\u4e5f\u4e0d\u6d89\u53ca\u4e3b\u9ad4\u7684\u4eba\u548c\u5ba2\u9ad4\u7684\u4e16\u754c\u4e4b\u9593\u7684\u5c0d\u7acb\uff0c\u56e0\u6b64\uff0c\u4e2d\u570b\u5f9e\u4f86\u6c92\u6709\u53ef\u4ee5\u548c\u53e4\u5e0c\u81d8\u5ab2\u7f8e\u7684\u5275\u4e16\u795e\u8a71\u4e5f\u6c92\u6709\u8377\u99ac\u53f2\u8a69\u822c\u6062\u5f18\u7684\u82f1\u96c4\u50b3\u5947\u3002<\/p>\n\n\n\n

\u4e8c\u6230\u5f8c\u6d77\u5fb7\u683c\u723e\u88ab\u7981\u6b62\u6388\u8ab2\uff0c\u5176\u9593\u4ed6\u548c\u4e2d\u570b\u5b78\u8005\u856d\u5e2b\u6bc5\u5728\u6258\u7279\u7459\u5821(Todtnauberg)\u7684\u5c0f\u5c4b\u4e2d\u8a66\u8b6f\u4e86\u300a\u9053\u5fb7\u7d93\u300b\u3002\u800c\u5176\u5f8c\u6211\u5011\u4eff\u4f5b\u4e5f\u53ef\u4ee5\u5728\u4ed6\u90a3\u56db\u4f4d\u4e00\u9ad4\u7684\u69cb\u9020\u4e2d\uff08\u5929\u3001\u5730\u3001\u7d42\u6709\u4e00\u6b7b\u8005\u3001\u795e\uff09\u770b\u5230\u8001\u5b50\u7684\u5929\u3001\u5730\u3001\u4eba\uff0c\u4ee5\u53ca\u5176\u9593\u904b\u8f49\u4e0d\u606f\u7684\u5927\u9053\u3002

<\/p>\n\n\n\n

\u201c\u7576\u5929\u3001\u5730\u3001\u4eba\u3001\u795e\u805a\u96c6\u5728\u4e00\u8d77\uff0c\u842c\u7269\u5c31\u5411\u6211\u5011\u655e\u958b\u5728\u6f84\u660e\u4e4b\u4e2d\uff1b\u4eba\u5728\u8a69\u610f\u4e2d\u68f2\u5c45\u800c\u5b58\u5728\u8457\u201d\uff0c\u9019\u4e9b\u665a\u671f\u5178\u578b\u7684\u6d77\u5fb7\u683c\u723e\u5f0f\u63cf\u8ff0\u4e0d\u662f\u7d14\u7cb9\u7684\u5c0d\u8a69\u610f\u751f\u6d3b\u7684\u7f8e\u597d\u8ffd\u6c42\u3001\u5c0d\u4e16\u5916\u6843\u6e90\u7684\u56ae\u5f80\uff0c\u800c\u662f\u6709\u4e00\u500b\u5c0d\u4e16\u754c\u6280\u8853\u5de5\u5177\u7406\u6027\u5316\u7684\u56b4\u8085\u56de\u61c9\u548c\u62b5\u6297\uff0c\u4e5f\u5c31\u662f\u5c0d\u73fe\u4ee3\u5316\uff0c\u5de5\u696d\u5316\uff0c\u8cc7\u672c\u4e3b\u7fa9\u5316\u6240\u9020\u6210\u7684\u4e16\u754c\u6241\u5e73\u5316\u7684\u53cd\u6297\u3002\u6d77\u5fb7\u683c\u723e\u5340\u5206\u4e86\u201c\u88fd\u4f5c\u578b\u201d\uff08hervorbringen\uff09\u548c\u201c\u767c\u751f\u578b\u201d\uff08geschehen\uff09\uff0c\u4ed6\u5728\u5206\u6790\u73fe\u4ee3\u6280\u8853\u5de5\u5177\u4e4b\u7570\u5316\u7684\u554f\u984c\u6642\uff0c\u628a\u75c5\u75c7\u63a8\u6f14\u5230\u6700\u65e9\u53e4\u5e0c\u81d8\u6642\u671f\u54f2\u5b78\u7684\u5f62\u6210\u3002\u7576\u4e16\u754c\u88ab\u67cf\u62c9\u5716\u7406\u89e3\u70ba\u7406\u5ff5\u548c\u8868\u50cf\u7684\u4e8c\u5143\u5c0d\u7acb\u6642\u3001\u7576\u8868\u50cf\u88ab\u8a8d\u70ba\u662f\u5c0d\u7406\u5ff5\u7684\u6a21\u4eff\u6642\u3001\u7576\u7406\u60f3\u570b\u88ab\u8a2d\u7f6e\u70ba\u4e00\u500b\u70cf\u6258\u90a6\u7684\u5178\u7bc4\u6642\uff08\u4e00\u500b\u7406\u5ff5\u5b8c\u7f8e\u7684\u570b\u5ea6\uff09\uff0c\u73fe\u4ee3\u5316\u4e2d\u5c0d\u4e16\u754c\u7c97\u66b4\u7684\u5de5\u5177\u6280\u8853\u5316\u5c31\u5df2\u7d93\u6f5b\u4f0f\u5176\u4e2d\u3002\u800c\u6700\u95dc\u9375\u7684\u5c31\u662f\u8a2d\u7acb\u4e86\u5275\u9020\u6216\u88fd\u4f5c\u7684\u4e3b\u9ad4\u548c\u88ab\u52d5\u7684\u6750\u6599\u4e4b\u9593\u7684\u95dc\u4fc2\uff0c\u79d1\u5b78\u5c31\u662f\u5960\u57fa\u5728\u9019\u6a23\u7684\u57fa\u790e\u4e4b\u4e0a\u3002\u800c\u76f8\u53cd\uff0c\u201c\u767c\u751f\u578b\u201d\u4e0d\u5340\u5206\u4e3b\u52d5\u548c\u88ab\u52d5\uff0c\u4e0d\u8a66\u5716\u660e\u78ba\u4e16\u754c\u7684\u610f\u7fa9\uff0c\u5b83\u5305\u6db5\u4e86\u591a\u7dad\u5ea6\u7684\u7406\u89e3\u548c\u8a6e\u91cb\uff0c\u8b93\u5404\u81ea\u4e0d\u540c\u7684\u56e0\u7d20\u5171\u632f\u3002\u5b83\u751f\u751f\u4e0d\u606f\u5730\u5728\u95dc\u4fc2\u7db2\u7d61\u4e2d\u904b\u52d5\uff0c\u5b83\u7121\u6cd5\u88ab\u62bd\u53d6\u3001\u88ab\u6982\u5ff5\u5316\u3002\u5728\u4e2d\u570b\uff0c\u6211\u5011\u628a\u5b83\u55bb\u70ba\u6c23\uff0c\u5b83\u4f3c\u4e4e\u5c31\u662f\u63a8\u52d5\u8457\u9670\u967d\u4e92\u52d5\u7684\u90a3\u80a1\u52c1\u9053\u3002

<\/p>\n\n\n\n

\u56e0\u6b64\uff0c\u6211\u5011\u5728\u897f\u65b9\u98a8\u666f\u6982\u5ff5(Landschaft)\u548c\u4e2d\u570b\u5145\u6eff\u610f\u5411\u6027\u7684\u5c71\u6c34\u4e00\u8a5e\u4e2d\u770b\u5230\u4e86\u672c\u8cea\u4e0a\u5c0d\u4e16\u754c\u4e0d\u540c\u7684\u5169\u7a2e\u7406\u89e3\u2014\u2014\u4e16\u754c\u662f\u88ab\u5275\u9020\u7684\uff1f\u9084\u662f\u6084\u7121\u8072\u606f\u5730\u751f\u6210\u3002\u5275\u9020\uff08\u88fd\u4f5c\u578b\uff09\u767c\u5c55\u5230\u73fe\u4ee3\uff0c\u4f34\u96a8\u8457\u7b1b\u5361\u723e\u4e3b\u5ba2\u9ad4\u7684\u5283\u5206\u548c\u4eba\u4e4b\u4e3b\u9ad4\u6027\u7684\u5f62\u6210\uff0c\u5b83\u628a\u4e16\u754c\u770b\u4f5c\u4e00\u500b\u5916\u5728\u65bc\u4eba\u7684\u5ba2\u9ad4\u5716\u50cf\uff0c\u4e00\u500b\u53ef\u4ee5\u88ab\u4e3b\u52d5\u7684\u4eba\u6240\u5f81\u670d\u548c\u6539\u9020\u7684\u5ba2\u89c0\u6750\u6599\uff0c\u7576\u4eca\u7684\u5de5\u5177\u6280\u8853\u5c31\u662f\u5728\u6b64\u8a95\u751f\u3002\u5b83\u8a66\u5716\u7c21\u5316\u4e16\u754c\u7684\u591a\u6a23\u6027\uff0c\u8a66\u5716\u901a\u904e\u55ae\u4e00\u7684\u7406\u6027\u6a19\u6e96\u8861\u91cf\u4e00\u5207\uff0c\u5b83\u628a\u4e00\u5207\u4e0d\u7b26\u5408\u5b83\u898f\u7bc4\u7684\u4e16\u754c\u60f3\u50cf\u99c1\u65a5\u70ba\u8b2c\u8aa4\u548c\u8ff7\u4fe1\u3002 \u6700\u5f8c\u5b83\u6210\u70ba\u4e86\u6d3b\u7269\uff0c\u548c\u8cc7\u672c\u4e3b\u7fa9\u751f\u7522\u908f\u8f2f\u4e00\u8d77\u898f\u5283\u8457\u6211\u5011\u7684\u65e5\u5e38\u751f\u6d3b\uff0c\u628a\u6211\u5011\u7684\u4eba\u6027\u64e0\u58d3\u5230\u4ed6\u5de5\u5177\u7406\u6027\u751f\u7522\u7684\u6a21\u4ef6\u4e2d\u3002\u6211\u5011\u751f\u6d3b\u5728\u4eba\u5de5\u81ea\u52d5\u5316\u7684\u6642\u4ee3\uff0c\u6211\u5011\u7684\u8eab\u9ad4\u9010\u6f38\u812b\u96e2\u81ea\u7136\u3001\u812b\u96e2\u65e5\u5e38\u665d\u591c\u7684\u5dee\u5225\u3001\u812b\u96e2\u4e86\u56db\u5b63\u7684\u66f4\u66ff\uff0c\u6211\u5011\u4e94\u7a40\u4e0d\u5206\u3001\u56db\u80a2\u4e0d\u52e4\uff0c\u6211\u5011\u751f\u6d3b\u5728\u4e00\u500b\u7531\u751f\u7522\u548c\u7121\u6b62\u5883\u6d88\u8cbb\u6240\u4e3b\u5c0e\u7684\u4eba\u5de5\u5316\u9694\u96e2\u5340\u57df\u3002

<\/p>\n\n\n\n

\u67c4\u8c37\u884c\u4eba\u5728\u300a\u65e5\u672c\u73fe\u4ee3\u6587\u5b78\u7684\u8d77\u6e90\u300b\u4e2d\u8ffd\u8ff0\u4e86\u9019\u500b\u5f9e\u660e\u6cbb\u7dad\u65b0\u958b\u59cb\u7684\u73fe\u4ee3\u5316\u904e\u7a0b\uff0c\u4e5f\u5c31\u662f\u6d77\u5fb7\u683c\u723e\u6240\u6279\u5224\u7684\u2014\u2014\u628a\u5468\u906d\u4e16\u754c\u5ba2\u9ad4\u5316\uff0c\u7269\u4ef6\u5316\u7684\u904e\u7a0b\u3002\u4ed6\u7a31\u4e4b\u70ba\u201c\u98a8\u666f\u7684\u767c\u73fe\u201d \uff08\u98a8\u666f\u306e\u767a\u898b\uff09\u548c\u4f34\u96a8\u800c\u81f3\u7684\u201c\u5167\u9762\u7684\u767c\u73fe\u201d\uff08\u4e3b\u9ad4\u6027\u7684\u767c\u73fe\uff09\u3002\u9019\u500b\u5f9e\u5728\u5c71\u6c34\u4e2d\u6e38\u89c0\u5230\u89c0\u5bdf\u5916\u5728\u98a8\u666f\u7684\u904e\u7a0b\u4e0d\u53ea\u662f\u4e00\u7a2e\u6587\u5b78\u98a8\u683c\u6216\u5716\u50cf\u98a8\u683c\u7684\u8f49\u8b8a\uff0c\u800c\u66f4\u662f\u4e00\u7a2e\u4e16\u754c\u89c0\u7684\u8f49\u8b8a\u3002\u7528\u6d77\u5fb7\u683c\u723e\u7684\u8a71\u8aaa\uff0c\u662f\u4e00\u7a2e\u5f9e\u201c\u767c\u751f\u578b\u201d\u8f49\u5411\u201c\u88fd\u4f5c\u578b\u201d\u7684\u904e\u7a0b\uff0c\u662f\u4e00\u7a2e\u5f9e\u9670\u967d\u751f\u842c\u7269\u7684\u9ad4\u8a8d\uff0c\u5929\u5730\u4eba\u5408\u4e00\u7684\u8ffd\u6c42\u904e\u6e21\u5230\u552f\u7269\u8cea\u7684\u7406\u6027\u751f\u7522\u908f\u8f2f\u7684\u904e\u7a0b\u3002\u4eba\u4e0d\u518d\u5f9e\u5929\u5730\u6d41\u8b8a\u4e2d\u3001\u4e16\u4ee3\u66f4\u66ff\u4e2d\uff1b\u4e0d\u518d\u5f9e\u8ffd\u6c42\u4eba\u502b\u548c\u5929\u7406\u5408\u4e00\u4e2d\u53bb\u63cf\u5beb\u5468\u906d\uff0c\u4f86\u751f\u7522\u51fa\u5c71\u6c34\u756b\u9019\u6a23\u7684\u8868\u73fe\u65b9\u5f0f\uff0c\u800c\u662f\u5f9e\u5b9a\u9ede\u3001\u904b\u7528\u7126\u9ede\u900f\u8996\uff0c\u4ee5\u6211\u70ba\u5c0a\u5730\u628a\u5468\u906d\u770b\u6210\u975c\u614b\u7684\u5ba2\u89c0\u73fe\u8c61\uff0c\u4e26\u52a0\u4ee5\u63cf\u7e6a\uff08\u6587\u85dd\u5fa9\u8208\u767c\u660e\u7684\u7126\u9ede\u900f\u8996\uff09\u3002

<\/p>\n\n\n\n

\u5728\u4e2d\u570b\uff0c\u4eba\u502b\u548c\u5929\u7406\u4e00\u81f4\u6027\u6846\u67b6\u7684\u5206\u5d29\u96e2\u6790\u4f34\u96a8\u8457\u5c0d\u5112\u6559\u7684\u6279\u5224\u3001\u65b0\u6587\u5316\u904b\u52d5\u7684\u8208\u8d77\uff0c\u4ee5\u53ca\u6574\u500b\u4e2d\u570b\u73fe\u4ee3\u5316\u7684\u98a8\u8d77\u96f2\u6e67\u3002 \u5b83\u7684\u8d77\u9ede\u4e0d\u5728\u65bc\u5c0d\u897f\u65b9\u79d1\u5b78\u548c\u6280\u8853\u5b78\u7fd2\uff0c\u800c\u662f\u9996\u5148\u51fa\u65bc\u8a9e\u8a00\u3001\u6587\u5b78\u6539\u9769\u548c\u85dd\u8853\u89c0\u5bdf\u4e2d\u8996\u89d2\u7684\u8f49\u63db\u3002 \u6211\u5011\u4e0d\u518d\u662f\u90a3\u500b\u5728\u5929\u5730\u9593\u548c\u842c\u7269\u5171\u5728\u7684\u6b64\u5728\uff08Dasein\uff09\u3001\u90a3\u4e00\u96a8\u8457\u5404\u7a2e\u4e0d\u540c\u60c5\u666f\u800c\u4e0d\u7a69\u5b9a\u8457\u7684\u53ef\u8b8a\u4e4b\u5b58\u5728\u3001\u656c\u754f\u8457\u5929\u5730\u8af8\u795e\u7684\u7d42\u6709\u4e00\u6b7b\u8005\uff0c\u800c\u662f\u201c\u6211\u601d\u6545\u6211\u5728\u201d\u7684\u4e3b\u9ad4\uff08Subjektum\u2014\u2014\u8a8d\u8b58\u4e16\u754c\u7684\u57fa\u9ede\uff09\uff0c\u842c\u7269\u56e0\u6211\u7684\u89c0\u770b\u800c\u6210\u70ba\u5728\u5b9a\u9ede\u900f\u8996\u7dda\u4e0a\u5404\u5c31\u5404\u4f4d\u7684\u5ba2\u9ad4\uff08Objektum\u2014\u2014\u5c0d\u7acb\u8457\u7684\u900f\u5c04\uff09\u3002\u4e3b\u9ad4\u6027\u7684\u73fe\u4ee3\u5c0f\u8aaa\u548c\u767d\u8a71\u6587\u7684\u4e00\u8d77\u78ba\u7acb\uff0c\u4f7f\u4eba\u5011\u7a81\u7136\u9593\u767c\u73fe\u81ea\u5df1\u81ea\u7acb\u65bc\u4e16\u754c\uff0c\u6210\u70ba\u4e86\u4e00\u500b\u81ea\u7531\u4e4b\u4e3b\u9ad4\u3002\u53ea\u6709\u8a9e\u8a00\u548c\u611f\u77e5\u767c\u751f\u8f49\u8b8a\uff0c\u624d\u6703\u5728\u610f\u8b58\u5c64\u9762\u4e0a\u63a5\u53d7\u897f\u65b9\u7684\u81ea\u7136\u79d1\u5b78\u548c\u6280\u8853\u7406\u6027\uff08\u81ea\u7136\u79d1\u5b78\u6b63\u662f\u5960\u57fa\u5728\u4e3b\u9ad4\u548c\u5ba2\u9ad4\u4e4b\u5206\u88c2\u4e2d\uff09\uff0c\u5f9e\u800c\u88ab\u62d6\u5165\u8cc7\u672c\u4e3b\u7fa9\u548c\u73fe\u4ee3\u5316\u65b0\u7684\u898f\u5283\u4e2d\u4e0d\u80fd\u81ea\u62d4\uff0c\u4ed6\u53c8\u6210\u70ba\u4e86\u65b0\u5f62\u5f0f\u7684\u5974\u96b8\u3002

<\/p>\n\n\n\n

\u5728\u89c0\u98a8\u666f\u756b\u4e2d\uff0c\u96d6\u7136\u6beb\u7121\u7591\u554f\u5730\u8ce6\u4e88\u4e86\u89c0\u773e\u7d55\u5c0d\u7684\u4e3b\u9ad4\u5730\u4f4d\u3002\u89c0\u773e\u5728\u4e00\u500b\u5c64\u9762\u4e0a\u7372\u5f97\u4e86\u5c0d\u7d71\u4e00\u7a7a\u9593\u7684\u628a\u63e1\uff0c\u5f9e\u800c\u627e\u5230\u4e86\u81ea\u5df1\u5916\u5728\u65bc\u756b\u9762\u7684\u90a3\u500b\u5b89\u5168\u4f4d\u7f6e\uff08\u4e3b\u9ad4\uff09\uff1b\u53e6\u4e00\u5c64\u9762\u4e0a\uff0c\u4e5f\u88ab\u56fa\u5b9a\u5728\u904e\u53bb\u767c\u751f\u7684\u90a3\u500b\u6642\u9593\u9ede\u4e0a\uff0c\u4f3c\u4e4e\u9019\u500b\u904e\u53bb\u5c07\u6c38\u9060\u5728\u7576\u4e0b\u655e\u958b\u8457\u3002

<\/p>\n\n\n\n

\u5728\u89c0\u5c71\u6c34\u756b\u6642\uff0c\u6211\u6d88\u878d\u5728\u9ed1\u767d\u69cb\u6210\u7684\u5c71\u6c34\u4e4b\u9593\uff0c\u548c\u773c\u5149\u7684\u79fb\u52d5\u3001\u548c\u5377\u8ef8\u7684\u6253\u958b\u9589\u5408\u4e00\u8d77\u7372\u5f97\u4e86\u838a\u5b50\u6240\u8aaa\u7684\u900d\u9059\u904a\u3002\u6211\u7a81\u7136\u5f9e\u4fd7\u4e16\u7684\u8eab\u4efd\u3001\u8cac\u4efb\uff0c\u4ee5\u53ca\u4eba\u969b\u7db2\u8def\u4e2d\u89e3\u653e\u51fa\u4f86\u3002\u5728\u89c0\u4e2d\uff0c\u6211\u65e2\u64fa\u812b\u4e86\u7a7a\u9593\u7684\u5b9a\u4f4d\uff0c\u4e5f\u6e38\u96e2\u51fa\u4e86\u6642\u9593\u3002\u201c\u6e38\u201d\u662f\u4e00\u7a2e\u5916\u5728\u548c\u5167\u5728\u7684\u53cd\u5fa9\uff0c\u5b83\u958b\u555f\u4e86\u9032\u5165\u900d\u9059\u7684\u9580\u5f91\uff0c\u9054\u5230\u7269\u6211\u5169\u5fd8\u3002

<\/p>\n\n\n\n

\u5728\u897f\u756b\u53f2\u4e0a\uff0c\u76f4\u523017\u4e16\u7d00\uff0c\u65e9\u671f\u98a8\u666f\u4e5f\u53ea\u662f\u4f5c\u70ba\u80cc\u666f\u51fa\u73fe\u5728\u7e6a\u756b\u4e2d\uff0c\u4e4b\u5f8c\u666e\u6851\u548c\u6d1b\u6797\u88ab\u8a8d\u70ba\u662f\u7b2c\u4e00\u6279\u5f9e\u4e8b\u98a8\u666f\u756b\u7684\u6b50\u6d32\u756b\u5bb6\u3002\u4ed6\u5011\u7684\u7e6a\u756b\u5927\u90fd\u5448\u73fe\u61f7\u820a\u7684\u53e4\u4ee3\u5efa\u7bc9\u548c\u795e\u8a71\u4eba\u7269\uff0c\u4ee5\u53ca\u8056\u7d93\u4e16\u754c\uff0c\u4e26\u56b4\u683c\u5730\u7e7c\u627f\u4e86\u6587\u85dd\u5fa9\u8208\u6d41\u50b3\u4e0b\u4f86\u7684\u900f\u8996\u6cd5\u5247\u3002\u76f8\u6bd4\u6b77\u53f2\u756b\u3001\u975c\u7269\u548c\u8096\u50cf\u756b\uff0c\u98a8\u666f\u756b\u4e26\u6c92\u6709\u7d55\u5c0d\u5730\u606a\u5b88\u7126\u9ede\u900f\u8996\uff0c\u7a7a\u9593\u548c\u6642\u9593\u591a\u5c11\u8655\u65bc\u4e00\u500b\u66d6\u6627\u7684\u72c0\u614b\u3002 \u800c\u76f4\u5230\u585e\u5c1a\u7684\u98a8\u666f\u756b\uff0c\u624d\u88ab\u8a8d\u70ba\u662f\u6253\u7834\u4e86\u6642\u9593\u548c\u7a7a\u9593\u7684\u7d71\u4e00\uff0c\u5f62\u6210\u4e86\u591a\u7dad\u5ea6\u7684\u8996\u89d2\u3002<\/p>\n\n\n\n

\u5f9e\u900f\u8996\u6cd5\u958b\u59cb\u78ba\u7acb\u8d77\u7684\u6b50\u6d32\u7e6a\u756b\u5c31\u9010\u6f38\u8a66\u5716\u5728\u4e00\u500b\u756b\u9762\u4e2d\u7d71\u4e00\u6642\u9593\u548c\u7a7a\u9593\u3002\u5728\u900f\u8996\u4e3b\u5c0e\u4e0b\u7684\u7a7a\u9593\u5f70\u986f\u4e86\u6642\u9593\u7684\u5207\u7247\uff0c\u8207\u4e3b\u9ad4\u8996\u7dda\u5c0d\u7a7a\u9593\u7684\u628a\u63e1\u3002\u56e0\u6b64\uff0c\u904e\u53bb\u7247\u523b\u5c07\u6c38\u4e45\u5730\u51dd\u56fa\u5728\u5ef6\u7e8c\u7684\u7576\u4e0b\uff0c\u5411\u89c0\u773e\u5011\u655e\u958b\u3002\u201c\u6642\u9593\u201d\u7684\u5fb7\u6587\u201cZeit\u201d\u6e90\u65bc\u53e4\u5fb7\u6587\u201cz\u00eet\u201d\uff0c\u539f\u662f\u5207\u6389\uff08Abgeteilt\uff09\u7684\u610f\u601d\u3002\u82f1\u8a9e\u7684\u201ctime\u201d\u6e90\u81ea\u65bc\u53e4\u65e5\u723e\u66fc\u8a9e\u201ctimon-\u201d\uff0c\u610f\u601d\u662f\u5206\u88c2\u3002 \u9019\u4e0d\u5f97\u4e0d\u8b93\u6211\u5011\u601d\u8003\u6b50\u6d32\u8a9e\u8a00\u7684\u6642\u614b\u554f\u984c\uff0c\u5b83\u4e0d\u6b63\u662f\u6642\u9593\u5373\u5207\u5272\u7684\u542b\u7fa9\u2014\u2014\u904e\u53bb\u3001\u73fe\u5728\u3001\u5c07\u4f86\u7684\u5206\u6bb5\u5f0f\u6558\u8ff0\u7d50\u69cb\u55ce\uff1f\u201c\u6642\u9593\u201d\u9019\u4e00\u8a5e\u7684\u6f22\u5b57\u7d44\u5408\u4f86\u81ea\u65bc\u65e5\u672c\u5c0d\u82f1\u8a9etime\u7684\u7ffb\u8b6f\uff0c\u7b2c\u4e00\u6b21\u51fa\u73fe\u57281874\u5e74\u7684\u300a\u671d\u91ce\u65b0\u805e\u300b\uff0c\u4e2d\u570b\u76f4\u52301907\u5e74\u624d\u5f9e\u65e5\u672c\u5f15\u5165\u9019\u4e00\u65b0\u9020\u8a5e\u3002\u4e4b\u524d\u6771\u4e9e\u4e26\u6c92\u6709\u6642\u9593\u548c\u7a7a\u9593\u5206\u5272\u7684\u7406\u8ad6\u8a8d\u8b58\u3002

<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

\u4e8c\u3001<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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<\/p>\n\n\n\n

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Jiang Jun2014 SHANSHUI\u00a0+ LANDSCAPE:A Third Path?Jiang Jun I. After many years under Xiaoyang\u2019s tutelage, it never occurred to me that I would be asked to write about his art, and I must confess that the thought of it makes me a little uneasy. I am more of a theorist: I have never undertaken any formal […]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[87],"tags":[],"class_list":["post-2815","post","type-post","status-publish","format-standard","hentry","category-87"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2815","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/comments?post=2815"}],"version-history":[{"count":0,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2815\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/media?parent=2815"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/categories?post=2815"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/tags?post=2815"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}