恪別𡧲版𢯢𢷮𧵑「藝術」－韋那威其 Vi-na-uy-ki

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[[集信:Teke bottle.JPG|thumb|200px|𠬠丐瓶[[𠱋安多]]（Rwanda）世紀20。外價值裝置𫥨、各作品藝術固体固應用寔際。]]{{wide image|Wang Ximeng - A Thousand Li of River (Bridge).jpg|1250px|全景𠬠份𧵑『萬里江山圖』、𠬠幅幀自世紀12𧵑畫士王希孟時茹宋}}裊𥙩𠬠義㢅𧗱藝術、時仍作品藝術㐌存在自𣇫開生[[類𠊛]]：自/藝術時前史朱𦤾藝術當代；雖然、𠬠數理說界限概念藝術𠓨仍社會現代於方西。<ref>{{Cite journal|last=Elkins|first=James|date=December 1995|title=Art History and Images That Are Not Art (with previous bibliography)|url=https://www.jstor.org/stable/3046136|journal=The Art Bulletin|volume=77|issue=4|pages=553–571|doi=10.2307/3046136|issn=0004-3079|archive-url=https://web.archive.org/web/20210818132943/https://www.jstor.org/stable/3046136|archive-date=18 August 2021|quote=Non-Western images are not well described in terms of art, and neither are medieval paintings that were made in the absence of humanist ideas of artistic value|url-status=live}}</ref>義頭先吧㢅一𧗱藝術𱺵義近一貝義羅星𫇰𦓡固体譯喃那𱺵「技能」咍「事𫩟嘹」。仍詞[[㗂英]]扒源自義尼𧵑詞「art」包𠁟「artifact」（造作）、「artificial」（人造）、「artifice」（才𫩟嘹）、「medical arts」（技術醫科）、吧「military arts」（藝術軍事）。雖然、𥪝格用亙𣈜、詞「art」固𡗉義恪、吧只𠬠數𱺵連關𦤾義[[詞源]]𧵑伮。

~~義次𠄩吧近低欣𧵑詞「art」（藝術）如𠬠格曰𨄠𧵑「creative~~ art」（藝術創造）咍「fine art」（美术）𫥨𠁀自頭世紀17。<ref>[[Shorter Oxford English Dictionary|The New Shorter Oxford English Dictionary]]. ''[[Oxford University Press]]'', Oxford 1993, p. 120</ref>「fine art」指𠬠技能得使用抵演寫[[事創造]]𧵑𠊛藝士、咍抵𢵱㨳感官審美於看者、咍抵遣看者抵心𦤾仍次咍惵欣。

義次𠄩吧𧵆低欣𧵑詞「art」（藝術）如𠬠格曰𨄠𧵑「creative art」（藝術創造）咍「fine art」（美术）𫥨𠁀自頭世紀17。<ref>[[Shorter Oxford English Dictionary|The New Shorter Oxford English Dictionary]]. ''[[Oxford University Press]]'', Oxford 1993, p. 120</ref>「fine art」指𠬠技能得使用抵演寫[[事創造]]𧵑𠊛藝士、咍抵𢵱㨳感官審美於看者、咍抵遣看者抵心𦤾仍次咍惵欣。

貝義次𠄩尼、「藝術」固体固仍義𢖖󠄁：𠬠研究𧗱𠬠技能創造、𠬠過程使用技能創造妬、𠬠產品𧵑技能創造妬、咍𱱇驗𧵑𠊛賞識技能創造妬。仍門藝術創造（貝資格𱺵𠬠領域）𱺵集合仍門造𫥨仍作品藝術（貝資格𱺵仍物體）得造𫥨由動機個人（貝資格𱺵事創造）吧𫼳𠬠通牒、心狀、咍表象抵𠊛賞玩演解（貝資格𱺵𠬠事𱱇驗）。藝術𱺵𠬠丐之妬激刺思維、感觸、念信、咍意想𧵑𠬠𠊛通過覺官。仍工程藝術固体得造𫥨朱目的尼咍得演繹澦𨑗仍形影咍物體。

本質𧵑藝術得哲家𠶋𠹗・蘊海唵（Richard Wollheim）模寫如𱺵「𠬠𥪝仍問題𠸗𫢩𠸋捻扒一𧵑文化𡥵𠊛」。<ref>Richard Wollheim, ''Art and its objects'', p.1, 2nd edn, 1980, Cambridge University Press, ISBN 0-521-29706-0</ref>藝術得定義如𱺵方便抵演達咍𢭂傳感觸吧意想、𠬠方便抵勘破吧賞識仍要素形式、咍如事扒着（mimesis）或體現。藝術如𱺵事扒着固源㭲漊賒𥪝哲學[[阿𦀎綀卒]]（Aristotle）。<ref name=Levinson5/> [[𩙍安・𦛞𠡚・𡻖・𡍄舒|𡍄舒]]（Goethe）定義藝術藝術如𱺵𠬠「丐恪」、蹺義𱺵𠬠「[[自然]]次𠄩」。<ref>[[Karl Robert Mandelkow]], Bodo Morawe: Goethes Briefe. 2. edition. Vol. 1: Briefe der Jahre 1764-1786. ''Christian Wegner'', Hamburg 1968, p. 487 (German)</ref>[[𥼕・尼古萊𠲖𩼢・尊綀綷|𥼕・尊綀綷]]（Leo Tolstoy）䀡藝術𱺵𠬠格使用仍意義非直接抵傳達自𠊛尼𨖅𠊛恪。<ref name="Levinson5">Jerrold Levinson, ''The Oxford Handbook of Aesthetics'', Oxford university Press, 2003, p5. ISBN 0-19-927945-4</ref>陛呢𪸽蘇・基𬰹𩂏（Benedetto Croce）吧𬰹𠯴・䇶・古玲𠃝（Robin George Collingwood）朱哴藝術演寫感觸、吧各作品藝術由妬主要存在𥪝智想𧵑𠊛創造。<ref>Jerrold Levinson, ''The Oxford Handbook of Aesthetics'', Oxford university Press, 2003, p16. ISBN 0-19-927945-4</ref><ref>R.G. Collingwood's view, expressed in ''The Principles of Art'', is considered in Wollheim, op. cit. 1980 pp 36–43</ref>理說藝術𨑜樣𱺵𠬠形式論固源㭲𥪝哲學𧵑[[伊麻𦬻燕・干絲]]（Immanuel Kant）、吧得𬰹捈・𠱀𡃄（Roger Fry）吧基㕸・𥾽（Clive Bell）~~發展𥪝頭世紀20。近低欣、各茹思想𠹾影響𧵑~~[[麻辰・海堤𡍄]]（Martin Heidegger）㐌演解藝術如𱺵方便𦓡𠬠共同發展朱正𨉟抵造媒場朱事自體現吧事演繹。<ref>[[Martin Heidegger]], "The Origin of the Work of Art", in ''Poetry, Language, Thought'', (Harper Perennial, 2001). See also [[Maurice Merleau-Ponty]], "Cézanne's Doubt" in ''The Merleau-Ponty Aesthetics Reader'', Galen Johnson and Michael Smith (eds), (Northwestern University Press, 1994) and [[John Russon]], ''Bearing Witness to Epiphany'', (State University of New York Press, 2009).</ref>

本質𧵑藝術得哲家𠶋𠹗・蘊海唵（Richard Wollheim）模寫如𱺵「𠬠𥪝仍問題𠸗𫢩𠸋捻扒一𧵑文化𡥵𠊛」。<ref>Richard Wollheim, ''Art and its objects'', p.1, 2nd edn, 1980, Cambridge University Press, ISBN 0-521-29706-0</ref>藝術得定義如𱺵方便抵演達咍𢭂傳感觸吧意想、𠬠方便抵勘破吧賞識仍要素形式、咍如事扒着（mimesis）或體現。藝術如𱺵事扒着固源㭲漊賒𥪝哲學[[阿𦀎綀卒]]（Aristotle）。<ref name=Levinson5/> [[𩙍安・𦛞𠡚・𡻖・𡍄舒|𡍄舒]]（Goethe）定義藝術藝術如𱺵𠬠「丐恪」、蹺義𱺵𠬠「[[自然]]次𠄩」。<ref>[[Karl Robert Mandelkow]], Bodo Morawe: Goethes Briefe. 2. edition. Vol. 1: Briefe der Jahre 1764-1786. ''Christian Wegner'', Hamburg 1968, p. 487 (German)</ref>[[𥼕・尼古萊𠲖𩼢・尊綀綷|𥼕・尊綀綷]]（Leo Tolstoy）䀡藝術𱺵𠬠格使用仍意義非直接抵傳達自𠊛尼𨖅𠊛恪。<ref name="Levinson5">Jerrold Levinson, ''The Oxford Handbook of Aesthetics'', Oxford university Press, 2003, p5. ISBN 0-19-927945-4</ref>陛呢𪸽蘇・基𬰹𩂏（Benedetto Croce）吧𬰹𠯴・䇶・古玲𠃝（Robin George Collingwood）朱哴藝術演寫感觸、吧各作品藝術由妬主要存在𥪝智想𧵑𠊛創造。<ref>Jerrold Levinson, ''The Oxford Handbook of Aesthetics'', Oxford university Press, 2003, p16. ISBN 0-19-927945-4</ref><ref>R.G. Collingwood's view, expressed in ''The Principles of Art'', is considered in Wollheim, op. cit. 1980 pp 36–43</ref>理說藝術𨑜樣𱺵𠬠形式論固源㭲𥪝哲學𧵑[[伊麻𦬻燕・干絲]]（Immanuel Kant）、吧得𬰹捈・𠱀𡃄（Roger Fry）吧基㕸・𥾽（Clive Bell）發展𥪝頭世紀20。𧵆低欣、各茹思想𠹾影響𧵑[[麻辰・海堤𡍄]]（Martin Heidegger）㐌演解藝術如𱺵方便𦓡𠬠共同發展朱正𨉟抵造媒場朱事自體現吧事演繹。<ref>[[Martin Heidegger]], "The Origin of the Work of Art", in ''Poetry, Language, Thought'', (Harper Perennial, 2001). See also [[Maurice Merleau-Ponty]], "Cézanne's Doubt" in ''The Merleau-Ponty Aesthetics Reader'', Galen Johnson and Michael Smith (eds), (Northwestern University Press, 1994) and [[John Russon]], ''Bearing Witness to Epiphany'', (State University of New York Press, 2009).</ref>

@@ 𣳔18： / 𣳔18： @@
 [[集信:Teke bottle.JPG|thumb|200px|𠬠丐瓶[[𠱋安多]]<small>（Rwanda）</small>世紀20。外價值裝置𫥨、各作品藝術固体固應用寔際。]]{{wide image|Wang Ximeng - A Thousand Li of River (Bridge).jpg|1250px|全景𠬠份𧵑『萬里江山圖』、𠬠幅幀自世紀12𧵑畫士王希孟時茹宋}}裊𥙩𠬠義㢅𧗱藝術、時仍作品藝術㐌存在自𣇫開生[[類𠊛]]：自/藝術時前史朱𦤾藝術當代；雖然、𠬠數理說界限概念藝術𠓨仍社會現代於方西。<ref>{{Cite journal|last=Elkins|first=James|date=December 1995|title=Art History and Images That Are Not Art (with previous bibliography)|url=https://www.jstor.org/stable/3046136|journal=The Art Bulletin|volume=77|issue=4|pages=553–571|doi=10.2307/3046136|issn=0004-3079|archive-url=https://web.archive.org/web/20210818132943/https://www.jstor.org/stable/3046136|archive-date=18 August 2021|quote=Non-Western images are not well described in terms of art, and neither are medieval paintings that were made in the absence of humanist ideas of artistic value|url-status=live}}</ref>義頭先吧㢅一𧗱藝術𱺵義近一貝義羅星𫇰𦓡固体譯喃那𱺵「技能」咍「事𫩟嘹」。仍詞[[㗂英]]扒源自義尼𧵑詞「art」包𠁟「artifact」（造作）、「artificial」（人造）、「artifice」（才𫩟嘹）、「medical arts」（技術醫科）、吧「military arts」（藝術軍事）。雖然、𥪝格用亙𣈜、詞「art」固𡗉義恪、吧只𠬠數𱺵連關𦤾義[[詞源]]𧵑伮。
-義次𠄩吧近低欣𧵑詞「art」（藝術）如𠬠格曰𨄠𧵑「creative art」（藝術創造）咍「fine art」（美术）𫥨𠁀自頭世紀17。<ref>[[Shorter Oxford English Dictionary|The New Shorter Oxford English Dictionary]]. ''[[Oxford University Press]]'', Oxford 1993, p. 120</ref>「fine art」指𠬠技能得使用抵演寫[[事創造]]𧵑𠊛藝士、咍抵𢵱㨳感官審美於看者、咍抵遣看者抵心𦤾仍次咍惵欣。
+義次𠄩吧𧵆低 欣𧵑詞「art」（藝術）如𠬠格曰𨄠𧵑「creative art」（藝術創造）咍「fine art」（美术）𫥨𠁀自頭世紀17。<ref>[[Shorter Oxford English Dictionary|The New Shorter Oxford English Dictionary]]. ''[[Oxford University Press]]'', Oxford 1993, p. 120</ref>「fine art」指𠬠技能得使用抵演寫[[事創造]]𧵑𠊛藝士、咍抵𢵱㨳感官審美於看者、咍抵遣看者抵心𦤾仍次咍惵欣。
 貝義次𠄩尼、「藝術」固体固仍義𢖖󠄁：𠬠研究𧗱𠬠技能創造、𠬠過程使用技能創造妬、𠬠產品𧵑技能創造妬、咍𱱇驗𧵑𠊛賞識技能創造妬。仍門藝術創造（貝資格𱺵𠬠領域）𱺵集合仍門造𫥨仍作品藝術（貝資格𱺵仍物體）得造𫥨由動機個人（貝資格𱺵事創造）吧𫼳𠬠通牒、心狀、咍表象抵𠊛賞玩演解（貝資格𱺵𠬠事𱱇驗）。藝術𱺵𠬠丐之妬激刺思維、感觸、念信、咍意想𧵑𠬠𠊛通過覺官。仍工程藝術固体得造𫥨朱目的尼咍得演繹澦𨑗仍形影咍物體。
-本質𧵑藝術得哲家𠶋𠹗・蘊海唵<small>（Richard Wollheim）</small>模寫如𱺵「𠬠𥪝仍問題𠸗𫢩𠸋捻扒一𧵑文化𡥵𠊛」。<ref>Richard Wollheim, ''Art and its objects'', p.1, 2nd edn, 1980, Cambridge University Press, ISBN 0-521-29706-0</ref>藝術得定義如𱺵方便抵演達咍𢭂傳感觸吧意想、𠬠方便抵勘破吧賞識仍要素形式、咍如事扒着<small>（mimesis）</small>或體現。藝術如𱺵事扒着固源㭲漊賒𥪝哲學[[阿𦀎綀卒]]<small>（Aristotle）</small>。<ref name=Levinson5/> [[𩙍安・𦛞𠡚・𡻖・𡍄舒|𡍄舒]]<small>（Goethe）</small>定義藝術藝術如𱺵𠬠「丐恪」、蹺義𱺵𠬠「[[自然]]次𠄩」。<ref>[[Karl Robert Mandelkow]], Bodo Morawe: Goethes Briefe. 2. edition. Vol. 1: Briefe der Jahre 1764-1786. ''Christian Wegner'', Hamburg 1968, p. 487 (German)</ref>[[𥼕・尼古萊𠲖𩼢・尊綀綷|𥼕・尊綀綷]]<small>（Leo Tolstoy）</small>䀡藝術𱺵𠬠格使用仍意義非直接抵傳達自𠊛尼𨖅𠊛恪。<ref name="Levinson5">Jerrold Levinson, ''The Oxford Handbook of Aesthetics'', Oxford university Press, 2003, p5. ISBN 0-19-927945-4</ref>陛呢𪸽蘇・基𬰹𩂏<small>（Benedetto Croce）</small>吧𬰹𠯴・䇶・古玲𠃝<small>（Robin George Collingwood）</small>朱哴藝術演寫感觸、吧各作品藝術由妬主要存在𥪝智想𧵑𠊛創造。<ref>Jerrold Levinson, ''The Oxford Handbook of Aesthetics'', Oxford university Press, 2003, p16. ISBN 0-19-927945-4</ref><ref>R.G. Collingwood's view, expressed in ''The Principles of Art'', is considered in Wollheim, op. cit. 1980 pp 36–43</ref>理說藝術𨑜樣𱺵𠬠形式論固源㭲𥪝哲學𧵑[[伊麻𦬻燕・干絲]]<small>（Immanuel Kant）</small>、吧得𬰹捈・𠱀𡃄<small>（Roger Fry）</small>吧基㕸・𥾽<small>（Clive Bell）</small>發展𥪝頭世紀20。近低欣、各茹思想𠹾影響𧵑[[麻辰・海堤𡍄]]<small>（Martin Heidegger）</small>㐌演解藝術如𱺵方便𦓡𠬠共同發展朱正𨉟抵造媒場朱事自體現吧事演繹。<ref>[[Martin Heidegger]], "The Origin of the Work of Art", in ''Poetry, Language, Thought'', (Harper Perennial, 2001). See also [[Maurice Merleau-Ponty]], "Cézanne's Doubt" in ''The Merleau-Ponty Aesthetics Reader'', Galen Johnson and Michael Smith (eds), (Northwestern University Press, 1994) and [[John Russon]], ''Bearing Witness to Epiphany'', (State University of New York Press, 2009).</ref>
+本質𧵑藝術得哲家𠶋𠹗・蘊海唵<small>（Richard Wollheim）</small>模寫如𱺵「𠬠𥪝仍問題𠸗𫢩𠸋捻扒一𧵑文化𡥵𠊛」。<ref>Richard Wollheim, ''Art and its objects'', p.1, 2nd edn, 1980, Cambridge University Press, ISBN 0-521-29706-0</ref>藝術得定義如𱺵方便抵演達咍𢭂傳感觸吧意想、𠬠方便抵勘破吧賞識仍要素形式、咍如事扒着<small>（mimesis）</small>或體現。藝術如𱺵事扒着固源㭲漊賒𥪝哲學[[阿𦀎綀卒]]<small>（Aristotle）</small>。<ref name=Levinson5/> [[𩙍安・𦛞𠡚・𡻖・𡍄舒|𡍄舒]]<small>（Goethe）</small>定義藝術藝術如𱺵𠬠「丐恪」、蹺義𱺵𠬠「[[自然]]次𠄩」。<ref>[[Karl Robert Mandelkow]], Bodo Morawe: Goethes Briefe. 2. edition. Vol. 1: Briefe der Jahre 1764-1786. ''Christian Wegner'', Hamburg 1968, p. 487 (German)</ref>[[𥼕・尼古萊𠲖𩼢・尊綀綷|𥼕・尊綀綷]]<small>（Leo Tolstoy）</small>䀡藝術𱺵𠬠格使用仍意義非直接抵傳達自𠊛尼𨖅𠊛恪。<ref name="Levinson5">Jerrold Levinson, ''The Oxford Handbook of Aesthetics'', Oxford university Press, 2003, p5. ISBN 0-19-927945-4</ref>陛呢𪸽蘇・基𬰹𩂏<small>（Benedetto Croce）</small>吧𬰹𠯴・䇶・古玲𠃝<small>（Robin George Collingwood）</small>朱哴藝術演寫感觸、吧各作品藝術由妬主要存在𥪝智想𧵑𠊛創造。<ref>Jerrold Levinson, ''The Oxford Handbook of Aesthetics'', Oxford university Press, 2003, p16. ISBN 0-19-927945-4</ref><ref>R.G. Collingwood's view, expressed in ''The Principles of Art'', is considered in Wollheim, op. cit. 1980 pp 36–43</ref>理說藝術𨑜樣𱺵𠬠形式論固源㭲𥪝哲學𧵑[[伊麻𦬻燕・干絲]]<small>（Immanuel Kant）</small>、吧得𬰹捈・𠱀𡃄<small>（Roger Fry）</small>吧基㕸・𥾽<small>（Clive Bell）</small>發展𥪝頭世紀20。𧵆低 欣、各茹思想𠹾影響𧵑[[麻辰・海堤𡍄]]<small>（Martin Heidegger）</small>㐌演解藝術如𱺵方便𦓡𠬠共同發展朱正𨉟抵造媒場朱事自體現吧事演繹。<ref>[[Martin Heidegger]], "The Origin of the Work of Art", in ''Poetry, Language, Thought'', (Harper Perennial, 2001). See also [[Maurice Merleau-Ponty]], "Cézanne's Doubt" in ''The Merleau-Ponty Aesthetics Reader'', Galen Johnson and Michael Smith (eds), (Northwestern University Press, 1994) and [[John Russon]], ''Bearing Witness to Epiphany'', (State University of New York Press, 2009).</ref>