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RED点红设计主持

中国设计师协会（CDA）会员

中国风景园林协会会员

中国当代艺术协会会员

程雪飞曾游学于西班牙、葡萄牙、日本、法国等艺术中心，与原SASAK中国区总监BEENI多次合作项目落地于中国及东南亚地区，参与过多次国内外景观及建筑竞赛并多次获奖。他着力研究当代建造工艺及可持续发展生态设计，并力求以专业技术在各项传统领域上寻求革命性的突破。以文化的在地性为出发点与艺术及工艺结合形成自己独特风格。

Lead architect of RED PIONEER ORGANIZATION

Member of China Designers Association

Member of China Landscape Architecture Association

Member of China Contemporary Art Association

Cheng Xuefei studied in Spain, Portugal, Japan, France. He has cooperated with Benni who is the former director of SASAKI China, for several projects in China and Southeast Asia. He participated in many domestic and foreign landscape and architecture competitions. Moreover, he has his own unique insights into contemporary construction technology, sustainable development ecological design and architectural protection, and seeks revolutionary breakthroughs in various traditional fields.

01

我投下一枚炸弹 / 山本耀司

My Dear Bomb / Yohji Yamamoto

简介 

Description

世界时装日本浪潮的新掌门人唯一自传。Yohji Yamamoto是个谜，是个集东方沉稳细致的性格于一身的谜。《我投下了一颗炸弹》为你揭开这个谜。让你看懂日本设计，读懂日本设计师。本书揭开山本耀司对于衣饰、布料等细节的灵感构思；回忆设计大师的成长心路历程,关于设计，关于理想，关于友谊，关于家庭，关于爱情；纪录山本耀司如何跨界合约，和坂本龙一一起玩音乐，与北野武、Wim Wender拍电影，和寺山修司创作俳句。山本耀司漫谈他所欣赏的当代设计大师：川久保铃，Jean Paul Gaultier, Azzedline Alaia，Sonia Rykiel。收录山本耀司重要设计年谱：参与华格纳歌剧服装设计、碧娜鲍许舞台服装设计、北野武电影服装设计。内含数十张山本耀司设计手稿。

The unique autobiography of Yohji Yamamoto, the new head of the Japanese wave of fashion in the world. Yohji Yamamoto is a mystery, which combines the calm and meticulous character of the East. Yohji Yamamoto: My Dear Bomb uncovers this mystery for you. Let you know Japanese design and Japanese designers. Explaining the reason why Japanese design can shock the world at the same time. This book reveals Yohji Yamamoto's inspirational ideas for details such as clothing and fabrics. In addition, recalling the growth and development of the designers, about design, about ideals, about friendship, about family, about love. Moreover, record how Yohji Yamamoto cooperated with people from other fields, played music with Ryuichi Sakamoto, made movies with Kitano Takeshi, Wim Wender, and worked with Shuji Terayama. Furthermore, Yohji Yamamoto talks about the contemporary designers he admires: Rei Kawakubo, Jean Paul Gaultier, Azzedline Alaia, Sonia Rykiel. In light of this, it also contains important design chronicles of Yohji Yamamoto: Participated in costume design of Wagner Opera, costume design of Pina Bausch, costume design of Kitano Takeshi. This book contains dozens of hand drawings from Yohji Yamamoto.

推荐理由

Reason for Recommendation 

山本耀司曾经形容自己是一个会在衣服里“藏炸弹“的人，这种如同孩子般的淘气和玩心，是以此为武器，对抗这个不能认同的世界。

在《山本耀司：我投下一枚炸弹》中，他在自序的最后一句写道：“这，是我曾爱过的一个男人的故事。“他用一个女人去折射自己作为第一性的社会义务，用一个宛若孙子的孩子去确认自己的童年，用几个记忆瞬间捕捉早逝父亲的身影，并以其遭遇表述他对战争的态度，以及对母亲的爱⋯⋯在这些文字中，他向没有准备的读者投下一枚又一枚炸弹，让你明白为什么在黑色中，他是安全的，无人能及的。——《新视觉》2013.131

对于所有从事设计、趋向时尚的人来说，山本耀司代表的不仅仅是一个名字而已。当时尚界还在以西方传统的紧身衣裙展现女性曲线时，山本耀司勇于突破传统，以和服为概念出发，用垂坠、层叠与缠绕等效果，将女性曲线覆盖于中性化的服装下，创造出时尚界的日本新浪潮。他擅长运用布料及各式的黑，让传统的、用途狭窄的黑色，脱离丧礼般的印象，一跃成为时尚的化身。而他与川久保玲、三宅一生是亚洲少数能在高级时装界站稳地位的设计师，其与主流时尚背道而驰、又能引领潮流的魅力，至今不辍。在这本带有山本耀司风格的神秘黑色书籍之内，山本耀司褪去“时尚大师”的面貌，展现一个毫不隐藏、赤裸坦诚的自己，也是所有亟欲了解山本耀司者应收藏之作。

Yohji Yamamoto once described himself as a person who could "hide bombs" in his clothes. This kind of childlike naughty and playfulness uses this as a weapon against this unidentified world.

In Yohji Yamamoto: My Dear Bomb, he wrote in the last sentence of his preface, "This is the story of a man I once loved." He used a woman to reflect himself as a first-sex social obligation. To use a child who is like a grandson to confirm his childhood, use a few memory moments to instantly capture the figure of his father who died young, and express his attitude to war and his love for his mother ... In these words, he did not to throw one bomb after another on unprepared readers, let you understand why in the black, he is safe, no one can match. ——New Vision 2013.1.31

For all those who are engaged in design and trend towards fashion, Yohji Yamamoto represents more than just a name. When the fashion industry was still showing the female curve with traditional western tights and skirts, Yohji Yamamoto bravely broke through the tradition, starting from the concept of kimono, using drape, layering and winding effects to cover the female curve under the neutral clothing. Creating a new wave of Japanese fashion in the world. He is good at using fabrics and all kinds of black, so that the traditional, narrow-purpose black can escape the funeral impression and become the incarnation of fashion. He, Rei Kawakubo and Issey Miyake are one of the few designers in Asia who can gain a firm foothold in the field of Haute couture. Their fascination against mainstream fashion and being able to lead the trend continues to this day. In this mysterious black book with the style of Yohji Yamamoto, Yohji Yamamoto faded away from the appearance of a "fashion master", showing an unconcealed, open and honest self, and it is also a collection of all those who want to know Yohji Yamamoto.

02

设计与死 / 黑川雅之

Design＆Death / Masayuki Kurokawa

简介 

Description

黑川雅之被称为“东京的达芬奇”，作为日本建筑和工业造型设计界的代表人物，黑川雅之本身就像是一部活的工业设计文明发展史。“生命与性”的哲学理念是他设计的永恒主题，他如同一个诗人，在时间与空间中不断探索，寻找着人类灵魂的栖息地。本书以日记形式的设计感悟，让读者从黑川雅之的思绪中体会他对设计与生命的理解，是奉献给所有那些在“深不见底的不安感”和“源源不断的生命力”的夹缝中生存，并有志于进行创意与设计的人们。

Masayuki Kurokawa is known as the "Da Vinci of Tokyo". As a representative figure in the field of architecture and industrial design in Japan, Masayuki Kurokawa is like a living history of the development of industrial design civilization. The philosophical concept of "life and sex" is the eternal theme in his design. Like a poet, he is constantly exploring in time and space, looking for the habitat of the human soul. The design perception of this book in the form of a diary allows readers to experience his understanding of design and life from Kurokawa’s thoughts. It is dedicated to all those people who survived in the cracks "bottomless sense of anxiety" and "continuous vitality" and interested in creativity and design.

推荐理由

Reason for Recommendation

关于设计的思考，只有从特殊的“自己”出发，才能与他人产生真正的共鸣。内行要按照自己的想法进行设计，建筑或设计最终也能归结为“爱”的问题吗？不能DESIGN（设计）的设计师不会design，堂堂正正、实名发表阐述自己思想的作品。这是一本日记般的设计感悟集，从黑川雅之的思绪中体会他对设计与生命的理解。黑川雅之被称为“东京的达芬奇”，作为日本建筑与工业造型设计界的代表人物，黑川雅之本身就是一部活的工业文明发展史。“生命与性”的哲学理念是他设计的永恒主题，他如同一位诗人，在时间与空间中不断探索，寻找着人类灵魂的栖息地。一本与设计有关，直达“艰难前行”的设计师心灵的设计感悟集。

With regard to thinking of design, only by starting from a special "self" it could truly resonate with others. Experts have to design according to their own ideas at the same time. Designers who can't design can't design. This is collection of design insights which looks like a diary. This book could make us to know his understanding of design and life from Kurokawa's thoughts. Masayuki Kurokawa is known as the "Da Vinci of Tokyo". As a representative figure in the field of architecture and industrial design in Japan, Masayuki Kurokawa is a living history of industrial civilization development. The philosophical concept of "life and sex" is the eternal theme through his design. Like a poet, he is constantly exploring in time and space, looking for the habitat of the human soul. A collection of design insights related to design that directly reach the minds of designers who are "struggling forward".

03

20世纪中国艺术与艺术家 / 迈克尔.苏立文
Art and Artists of Twentieth Century China / Michael Sullivan

简介 

Description

《20世纪中国艺术与艺术家(套装上下册)》是一部视觉盛宴般的巨著，是西方世界研究20世纪中国艺术最具权威和影响力的作品。迈克尔·苏立文教授熟识1930年代到1940年代中国现代艺术运动中许多重要的中国艺术家，并且得到了1979年以来那些声名鹊起的年轻艺术家的信任。他是20世纪中国艺术的目击者，也是最早和最持久地向西方世界介绍中国现代艺术的研究者。

Art and Artists of Twentieth Century China is a visual feast like masterpiece, and it is the most authoritative and influential work in the western world to study Chinese art in the 20th century. Professor Michael Sullivan was acquainted with many important Chinese artists in the Chinese modern art movement from the 1930s to the 1940s. He has gained the trust of those young artists who have risen to fame since 1979. He was not only an eyewitness of Chinese art in the 20th century, but also the earliest and longest researcher to introduce Chinese modern art to the Western world.

推荐理由

Reason for Recommendation 

《20世纪中国艺术与艺术家)》是苏立文教授毕生心血所在，用丰富的文献和生动的语言，描绘了20世纪中国艺术在西方艺术和文化影响下的新生。作者在中国紧张压抑与自由舒放、绝望与希望的双重语境下，讨论艺术家及其作品，卓越地传达了中国文化史与艺术，在20世纪盘根错节的各种力量的纠缠中的各色形态，以及偶尔异乎寻常的怪诞。其中包括传统派与革新派的激烈争辩、首批艺术学校的创建，以及振聋发聩的新观念的诞生，艺术是一种世界语，而那些新观念超越了民族优越感所形成的隔阂。中国古典文人画传统、对西方现代主义的再发现、共产主义影响之下的艺术巨变，及对于艺术核心价值的再思考等等问题，一一纳入了苏立文教授这部迷人的著作之中。

Professor Sullivan has been devoted his life in Art and Artists of Twentieth Century China. With rich literature and vivid language, it describes the rebirth of Chinese art in the 20th century under the influence of Western art and culture. With rich documents and vivid language, it depicts the rebirth of Chinese art in the 20th century under the influence of Western art and culture. The author discusses the artists and their works, excellently conveys the Chinese cultural history and art in the dual context of Chinese tension, depression and freedom, despair and hope. The tradition of Chinese classical literati painting, the rediscovery of Western modernism, the great changes in art under the influence of communism and the rethinking of the core values of art are all included in this fascinating book by Professor Sullivan.

04

大拙至美 / 梁思成

Great Beauty: Liang Sicheng's Most Beautiful Character Building

简介

Description 

以建筑来隐喻建筑，建筑是历史的反映，建筑师是幸福的，因为他可以看到许多美好的东西；建筑师是痛苦的，因为他也会看到许多丑的东西。本书是为非建筑业内的青年朋友编辑一本科普性的读物，并向读者简单地介绍了梁思成的生平，选了一些梁思成为外国朋友写的古建介绍和一些随笔，并在他的笔记本中选了一些速写，还集录了一些他与学生的谈话，编辑成这本书，希望朋友们能喜欢。

This book uses architecture as a metaphor for architecture. Architecture is a reflection of history. The architect is happiness because he can see many beautiful things. At the same time, the architect is painful because he also sees many ugly things. This book is a general reading for young people in the non-construction industry. It introduces the life of Liang Sicheng to readers briefly. It selects some introductions of ancient architecture in China and some essays written by Liang Sicheng to his foreign friend. Some sketches were selected in the notebook, and some conversations between him and his students were collected and edited into this book. I hope readers will like it.

推荐理由

Reason for Recommendation 

《大拙至美:梁思成最美的文字建筑》中梁思成热爱中国传统文化，认为可以将中国的传统建筑形式，用类似语言翻译的方法转化到西方建筑的结构体系上，形成带有中国特色的新建筑。他和夫人林徽因一起实地测绘调研中国古代建筑，并对宋《营造法式》和清《工部工程做法》进行了深入研究，为中国建筑史学奠定了基础。建国后，梁思成在建筑创作理论上提倡古为今用、洋为中用，强调新建筑要对传统形式有所继承。20世纪50年代，梁思成因提倡新建筑运作大屋顶等传统形式和保护北京古城而多次遭到批判。梁思成的这些理论观点，实际上代表了当时多数建筑师的思想和政府的希望，直到今天依然对中国建筑界有很大影响。梁思成主要作品有吉林大学礼堂和教学楼、仁立公司门面、北京大学女生宿舍、人民英雄纪念碑、鉴真和尚纪念堂等。曾参加天安门人民英雄纪念碑的设计和中华人民共和国国徽的设计。

In Great Beauty: Liang Sicheng's Most Beautiful Character Building, Liang Sicheng loves traditional Chinese culture and believes that traditional Chinese architectural forms can be transformed into the structural system of Western buildings using similar language translation methods to form new buildings with Chinese characteristics. He and his wife Lin Huiyin surveyed ancient Chinese architecture together and conducted in-depth research on the Building Methods in Song dynasty and the Engineering Practices of the Ministry of Industry in Qing dynasty, which laid the foundation for the history of Chinese architecture. After the founding of the People's Republic of China, Liang Sicheng advocated the use of the past for the present and the use of the foreign for the Chinese in architectural creation theory, emphasizing that new buildings should inherit traditional forms. In the 1950s, Liang Sicheng was criticized many times for advocating traditional forms such as large roofs in new buildings and protecting the ancient town in Beijing. These theoretical views of Liang Sicheng actually represent the thoughts of most architects at that time and the hopes of the government. These theories have a great influence on the Chinese architecture community in nowadays. Liang Sicheng's main works include the auditorium and teaching building of Jilin University, the facade of Renli Company, the female dormitory of Peking University, the Memorial Hall of Monk Jianzhen. He also participated in the design of the Monument to the People's Heroes of Tiananmen Square and the design of the national emblem of the People's Republic of China.

05

三低主义 / 三浦展+隈研吾

Three Low Principles

简介 

Description

站在世界第一线的建筑师——隈研吾，和消费社会研究的第一人——三浦展，针对都市、建筑、住宅、消费社会的对谈。在经济萧条、政权交替，「进步」、「近代」、「未来」等价值观发生动摇的日本，此时，人们应该选择什麼样的生活型态呢？关键字乃是「三低」（低价格、低姿势、低依存）。最近数年来，都市的生活文化改变了。大规模的再开发依旧进行，另一方面，在年轻人之间，「下町志向」（下流志向）逐渐增加。山庄流的「三高」（高价格、高姿势、高依存）与下町流的「三低」（低价格、低姿势〔可爱的〕、低依存〔生态的〕）——此一两极化，正是现代日本都市的现状。

本书从这个「三低」的观点分析都市与消费社会的现况，思考新的都市、建筑、住宅所应有的样子与日本社会该有的姿态。反观台湾，我们所居住的核心都会城市，如台北市，传统的、美好的三低城市的氛围也流失快速，铲除原有生活纹理记忆，奖励无限上纲的粗暴都更戏码，却依然不停上演……所以，二十一世纪的都市应非「三高」而是「三低」。

The architect at the forefront of the world ── Kengo Kuma, the first person in consumer society research ── Atsushi Miura, dialogue to the city, architecture, housing, and consumer society. In Japan, the economic depression, regime change, and values such as "progress", "modern", and "future" are shaken, what kind of life style should people choose at this time? The key words are "three lows" (low price, low posture, low dependence). On the one hand , in recent years, the living culture of the city has changed. Large-scale redevelopment is still going on. On the other hand, among young people, "Shitamachi ambitions" (indecent ambitions) are gradually increasing. The "three highs" (high price, high posture, and high dependence) of the mountain village stream and the "three lows" (low price, low posture, low dependence) of the down town stream ── these two polarizations are the status quo of modern Japanese cities.

This book analyses the current situation of cities and consumer societies from the perspective of these "three lows", thinking about what new cities, buildings and houses should look like, what Japanese society should have. Looking back in Taiwan, the core metropolis we live in, such as Taipei City, the atmosphere of the traditional and beautiful three-low cities is also losing quickly, eradicating the original texture and memory of life, rewarding the roughness of the infinite upper class is even more dramatic, but it still keeps on. Therefore, the city of the 21st century should not be the "three highs" but the "three lows".

推荐理由 

Reason for Recommendation 

《三低主义》是由处于全球第一线的建筑家隈研吾和日本消费型社会研究第一人三浦展发起的，关于城市、建筑、住宅和消费型社会的对谈。经济通缩，政权交替，现代日本关于“进步”“近代”和“未来”的价值观一直在不停地摇摆。当下，我们究竟应该选择怎样的生活方式？全书的关键词是“三低”：低层、低成本、低姿态。摩天大楼式的“三高”（高层、高造价、高姿态），以及乡村民宅式的“三低”（低层、低成本、低姿态），在现代日本城市中呈现出两极分化的态势。《三低主义》从“三低”这个观点出发，对城市和消费型社会的现状作出分析，重新思索城市、建筑、住宅的存在方式以及日本社会应有的姿态。

"Three Low Principle" was initiated by Kengo Kuma who is the world's foremost architect and Atsushi Miura who is the first person to research consumer society in Japan, it is a book which talking about cities, architecture, housing, and consumer society. Economic deflation, regime change, modern Japan's values of "progress", "modern" and "future" have been constantly swaying. Nowadays, what kind of lifestyle should we choose? The key words of the book are "three lows": low-level, low-cost, and low posture. The skyscraper-style "three highs" (high-rise, high cost, high posture), and the rural residential-style "three lows" (low level, low cost, low posture), present a polarization in modern Japanese cities. From the perspective of "three low principle", "Three Lows" analyzes the current situation of cities and consumer society, moreover rethinks the existence of cities, buildings, and housing as well as the posture that Japanese society should have.

06

建筑的元素 / 库哈斯

Elements of Architecture / Koolhaas

简介

Description 

《建筑的元素》关注点在于丰富复杂的建筑拼贴的片段，从窗户、立面、阳台、走廊、壁炉、楼梯、扶梯、电梯等元素出发，旨在挖掘建筑细节的微观叙事。其结果不是单一的历史，而是建筑演化的起源、异同、相互影响和构建的网络，其中包括技术进步、气候适应、政治考量、经济背景、监管要求和新的数字环境机遇各方面的影响。用库哈斯自己的话来说，这是一本早就过时了的指南，在我们所知的建筑正在变得面目全非的时候，从来没有一本书比这本书更相关。从库哈斯在2014年威尼斯建筑双年展上的详尽和备受赞誉的展览中衍生、更新和扩展，这是理解构成全球建筑的基本原理的一个重要工具。

Elements of Architecture are concentrated on the rich and complex building collage fragments. For example, windows, facades, balconies, corridors, fireplaces, stairs, escalators, elevators. This book attempts to dig out the micro-narrative details of architecture. The result is not a single history, but a network of difference, pollution, similarities and the origins of architectural evolution, including the impact of technological progress, climate adaptation, political calculations, economic background, regulatory requirements and new digital opportunities. In Koolhaas's own words, this is an outdated guide, as we know the architecture is becoming unrecognizable, there has never been a book more relevant than this one. Derived, updated and expanded from Koolhaas's detailed and acclaimed exhibition at the 2014 Venice Architecture Biennale, this is an important tool for understanding the basic principles that make up global architecture.

推荐理由 

Reason for Recommendation 

本书中各种建筑基本元素的内容，其实是库哈斯以2014年威尼斯双年展的主题为基础，其中包含了哈佛的学生以及OMA的精英建筑师们不断扩充，把建筑分解解读，包括了门窗、立面、走廊、壁炉、阳台、楼梯、扶梯、电梯等的最终成果，并非一蹴而就的“一本书”。严格上来说这可能并不是一本入门书，但的确是从一个常人不太会有的角度去了解建筑，惊艳的建筑书籍排版令人赏心悦目。

The content of the basic elements of various buildings in this book is actually based on the theme of the 2014 Venice Biennale by Koolhaas, which includes the continuous expansion of Harvard students and the elite architects of OMA, and the decomposition and analysis of the building, including the final result of doors, windows, facades, corridors, fireplaces, balconies, stairs, escalators, elevators etc. It is not a "book" that can be accomplished overnight. Strictly speaking, this may not be an introductory book, but it is indeed an understanding of architecture from a perspective that general people do not understand. The stunning architectural book layout is pleasing to the eye.

07

重屏 / 巫鸿

Double Screen / Wu Hong

简介 

Description

屏风赋予画家绝妙的灵感，也给希望提供崭新视角、探寻复杂路径的美术史家带来契机与挑战。本书的研究将围绕屏风展开，打破图像、实物和原境之间的界限，涵盖多种艺术和文化类型，从肖像与图画叙事到窥视与伪装，探索屏风在中国艺术中的独特地位，进而关注一个颇为宏大的问题——什么是传统中国绘画？答案在层叠纵深的空间之内，在亦真亦幻的画屏之上，在绵联展现的手卷之中。

The screen not only gives painters wonderful inspiration, but also brings opportunities and challenges to art historians who hope to provide new perspectives and explore complex paths. This book will focus on the screen, break the boundaries between images, objects and the original environment, cover a variety of types of art and cultural, from portrait and picture narration to peeping and camouflage, explore the unique position of the screen in Chinese art, and then focus on a rather grand question — what is traditional Chinese painting? The answer lies in the deep space, on the screen of reality and illusion, and in the scroll of continuous display.

推荐理由

Reason for Recommendation 

画家挥洒翰墨，手卷随手慢慢展开；雅集的士人聚在园林，正赏玩着竹杖挑起的一幅立轴；帝王在画屏前驻足，随后在屏背题诗一首。对于理解中国绘画来说，这些具体的绘画形式与特定的观赏场合显然十分重要。然而在大多数对这一重要艺术传统的介绍中，这一切还是被忽视了。一幅中国画往往只剩下画心的图像，绘画的物质性消失了，绘画与社会生活、文化习俗的紧密联系因而也变得隐晦不明。本书首次尝试把中国绘画既视为物质产品也看作图画再现，正是这两方面的交互合作与相互制约使得一张画生意盎然。这种新的研究方式打破了图像、实物和原境之间的界限，把美术史与物质文化研究联系起来。屏风可以是一件实物，一种艺术媒材，一个绘画母题，也可以是三者兼而有之，巫鸿对此进行了详尽的综合分析。通过多样的角色，屏风不仅给予中国画家无穷的契机来重新创造他们的艺术，同时也让本书作者有机会处理宽广的主题，包括肖像与图画叙事、语词与图像、感知与想象、山水画、性别、窥探欲、伪装、元绘画以及政治修辞等等。

The painter shook his ink and slowly unfolded the hand scroll; the scholars of the elegant collection gathered in the garden, playing with a vertical scroll raised by a bamboo stick; the emperor stopped in front of the painting screen, and then wrote a poem on the back of the screen. For the understanding of Chinese painting, these specific painting forms and specific viewing occasions are obviously very important. However, in most of the introductions to this important artistic tradition, all this is still ignored. A Chinese painting often only remains the image of the heart of the painting, the materiality of the painting has disappeared, and the close connection between painting and social life and cultural customs has become obscure. This book is the first attempt to treat Chinese painting as both a material product and a reproduction of a picture. It is the mutual cooperation and mutual restriction of these two aspects that make a painting business flourish. This new research method breaks the boundaries between image, object and original environment, and connects the history of art with the study of material culture. The screen can be a physical object, an art medium, a painting motif, or a combination of the three. Wu Hong conducted a detailed comprehensive analysis of this. Through a variety of roles, the screen not only gives Chinese painters endless opportunities to recreate their art, but also gives the author of this book the opportunity to deal with a wide range of topics, including portraits and pictorial narratives, words and images, perception and imagination, landscape painting, gender, prying desire, disguise, meta-painting, political rhetoric etc.

08

铃木大拙说禅 / 铃木大拙
Daisetsu Teitaro Suzuki Describe Zen / Daisetsu Teitaro Suzuki

简介 

Description

铃木大拙是日本禅学大师与思想家，是当今最伟大的佛教哲学权威与禅学权威。本书是铃木大拙在西方引起广泛回响的主要著作。世界级的禅学权威“铃木大拙”以其对东西方哲学的修养为背景，将禅学融合于西方哲学领域，他从禅的内部来解说禅，避免了生硬搬用西方哲学观点对禅进行臆测，但又超越了旧禅师所运用的打破语言概念的个体直觉方式，吸收了现代的思想方法，使禅的思想性可以在比较广泛的基础上得到交流。由于他对禅学的宣扬，使得西方世界开始对日本佛教产生兴趣，也刺激了日本人对佛教的再度关注。本书可以了解铃木大拙研究禅学的基本观点与大体面貌，内容集中在禅宗思想意义的阐发，少了一般宗教思想书籍冗长的历史资料与学术性的考验，本书也是铃木大拙研究最具时代特色的作品，深入浅出的笔触下，让本书成为禅学入门最普及的指引方针。

Daisetsu Teitaro Suzuki is a Japanese Zen scholar and thinker, the greatest Buddhist philosophy and Zen authority today. This book is the main work of Daisetsu Teitaro Suzuki that has caused widespread repercussions in the West. The world-class Zen authority " Daisetsu Teitaro Suzuki " uses his cultivation of Eastern and Western philosophy as a background to integrate Zen into the field of Western philosophy. He explains Zen from the inside of Zen, avoiding bluntly applying Western philosophical viewpoints to speculate on Zen, but It goes beyond the individual intuition of breaking language concepts used by the old Zen masters as well as absorbs modern methods of thinking, so that the ideological nature of Zen can be communicated on a broader basis. Because of his promotion of Zen, the Western world began to show interest in Japanese Buddhism, it also stimulated Japanese to pay more attention to Buddhism. This book allows you to understand the basic views and general aspects of Suzuki's research on Zen. The content focuses on the interpretation of the meaning of Zen thought, without the lengthy historical materials and academic tests of general religious thought books. This book is also the most contemporary feature of Suzuki's research. Under the simple brushwork, this book has become the most popular guideline for the introduction of Zen.

推荐理由

Reason for Recommendation 

日本人的闲寂之道，那些绘画、园艺、茶道、诗句之中所体会出来的禅意，其实有很多都是中国式的。禅正是南宋时从中国东渡日本的，正如大拙所发现的那样，中国的禅在日本发扬光大，并成为日本人性格和文化中的一部分。我认为，禅只在日本发展只是显在的，在更深层的意义上，中国和日本一直是同大于异。禅的精神属于传统文化的那部分，以及属于影响现代人精神的那部分，在中国亦能找到共鸣，可能只是历史进程的差别罢了。禅和东亚人的性格非常吻合，水墨、中医、茶道，等等，都有着禅的精神因素，这是一种值得珍视的精神因素。正是这种超越科学和形式的直觉，使我们的艺术和文化富有创造性，撼动人心。近代以来过分提倡科学的正确性，可谓削弱了这种属于东亚人特有的东西，这个现象也许值得我们反思。

Many of the Japanese way of quietness and Zen in painting, gardening, tea ceremony, and poetry are actually Chinese style. Zen traveled east from China to Japan during the Southern Song Dynasty. As Daisetsu Teitaro Suzuki discovered, Chinese Zen was carried forward in Japan and became a part of Japanese character and culture. I think that the development of Zen in Japan is only obvious. In a deeper sense, China and Japan have always been more similar than different. The spirit of Zen belongs to the part of traditional culture and the part that affects the spirit of modern people. It can also resonate in China. It may just be the difference in the historical process. The personalities of Zen and East Asians are very consistent. Ink painting, Chinese medicine, tea ceremony, etc. all of these have the spiritual element of Zen, which is a spiritual element worth cherishing. Because of this intuition that transcends science and form that makes our art and culture creative and moving people's hearts. Excessive promotion of scientific correctness in modern times can be said to have weakened this unique thing of East Asians. This phenomenon may be worthy of our reflection.