If one keeps on loving faithfully what is really worth loving, and does not waste one's love on insignificant and unworthy and meaningless things, one will gradually get more light and grow stronger.
  If a man masters one thing and understands it well, he has at the same time insight into and understanding of many other things in the bargain.

                                               --From Vincent's letter to Theo

For the sake of a single poem, you must see many cities, many people and Things, you must understand animals, must feel how birds fly, and know the gesture which small flowers make when they open in the morning. You must be able to think back to streets in unknown neighborhoods, to unexpected encounters, and to partings you had long seen coming; to days of childhood whose mystery is still unexplained, to parents whom you had to hurt when they brought in a joy and you didn’t pick it up (it was a joy meant for somebody else); to childhood illnesses that began so strangely with so many profound and difficult transformations, to days in quiet restrained rooms and to mornings by the sea, to the sea itself, to seas, but it is still not enough to be able to think of all that. You must have memories of many nights of love, each one different from all the others, memories of women screaming in labor, and of light, pale, sleeping girls who have just given birth and are closing again. But you must also have been beside the dying, must have sat beside the dead in the room with the open windows and the scattered noises. And it is not yet enough to have memories. You must be able to forget them when they are many, and you must have the immense patience to wait until they return. For the memories themselves are not important. Only when they have changed into our very blood, into glance and gesture, and are nameless, no longer to be distinguished from ourselves only then can it happen that in some very rare hour the first word of a poem arises in their midst and goes forth from them.

Rainer Maria Rilke

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that whats we should

newro
swimmer61

希望分享你们所读的部分内容

tears
brothers

Provence
now two brother @
Paris

just moved in , now SUMMER 1886.

soul......

what a theo

You are reading Vincent's letters to Theo? They make you cry, don't they?

1。庄子“内篇”。（最好是南怀瑾的讲的）
2。梵高书信。
3。普罗斯特的“追忆逝水年华”。
4。里尔克“写给一个年轻诗人的信”。
5。Shakespeare。

好贴！
学习中...

P233

艺术的目的和任务不是要证实外在的、已然存在的东西，而是要创造某种不同于外在实在的东西。就此而言，艺术确实是一种谎言，然而，这种谎言确有其不可替代的文化作用，有一种其它事物所没有的精神。它可以让我们以不同的眼光去看世界，可以满足我们情感的需要，可以陶冶我们的性灵，启发我们用一种不同于科学的、庸常的方式理解世界和我们的存在。

艺术所表现对象之间并非是一种真实性关系，或者说，艺术中的不真实，是为了表达另一种对人的内心世界来说更深刻的真实。艺术的真理性就在于这里，就在于它对于我们的精神世界和心灵宇宙的形式表现和真理理解。这种真理是由“不真实”的“谎言”揭示的，这种谎言让我们进入一个属于我们人类自身的真实世界，让我们洞察到我们人类自身的恐惧、窘境、希望和企盼。

希望分享你的所读

P231

毕加索：
艺术不仅只是真理。艺术是一种谎言，它教导我们去理解真理。至少是那些我们作为人能够理解的真理。

now,既然这样，一跳一跳的。

换题目吧， start from herea

／艺术｜

到此为止

抄书
P72

康德通过艺术与自然、艺术与科学、艺术与工艺的差异性区分，进一步确立了美的艺术的概念。他说，艺术不同于自然，因为艺术是以理性为基础的行为，理性是自由的象征，艺术作品就是创造性行为的产物。艺术不同于工艺，艺术是自由的，手工艺是一种劳动而不是让人感到愉快的。艺术不同于科学，艺术不是一种理论能力，理论是可以通过学习的。一个人掌握了许多的艺术理论知识，并不意味着就能够从事艺术创作。这种差异性区分所导致的后果，就是美的艺术概念的独立性，艺术作为一个自律性领域终于在他的美学理论中建立起来了

vicent-theo

我先介绍一本最近读的
北大出版社2009年1月版
《艺术 科学 真理》
小16开，384页，50元
李建盛著

主要章节有

艺术中的美与科学中的美
艺术、科学与审美经验
艺术、科学与创造性
艺术的理性和科学的感性
艺术真理与科学真理
艺术解释与科学解释
艺术的智慧与科学的智慧
艺术和科学：差异性与互补性

让我们一起来分享阅读思考的乐趣吧