Art appreciation is the discovery and perception of beauty, so where is beauty? Beauty is in your heart. The beauty created by painters and poets is their inner image and unique spiritual realm. So what is artistic conception? According to the author's analysis, there are five levels of contact between man and the world due to different levels of relationship: (1) there is a utilitarian level to meet physiological material needs; (2) Because people love each other, there is an ethical realm; (3) There is a political realm because of the mutual influence of the crowd combination; (4) Because of studying physics and pursuing wisdom, there is an academic realm; (5) there is a religious realm because of the desire to return to nature and the unity of man and nature. The utilitarian realm is dominated by benefit, the ethical realm is dominated by emotion, the political realm is dominated by power, the academic realm is dominated by reason, and the religious realm is dominated by god. But in the middle of the latter two, take the specific life of the universe as the object, enjoy its hue, order, rhythm and harmony, and thus get a glimpse of the deepest reflection of yourself; Turning a real scene into a virtual scene, creating an image as a symbol, and concretizing and physicalizing the highest human mind is the "artistic realm". The artistic realm is dominated by beauty.
So all beautiful light comes from the source of the soul, and there is no beauty without the refraction of the soul. Therefore, the natural landscape is a spiritual realm. Artistic conception is the crystallization of emotion and scenery. Therefore, China artists are not satisfied with purely objective mechanical modeling, but always reflect the noble style of individuality in their reflections on objects. A quiet and lively life constitutes two major elements of art. Therefore, the creation of China's artistic conception requires both Qu Yuan's lingering feelings and Zhuangzi's extraordinary ethereal spirit. Only by lingering can we be passionate and go deep into the core of everything. This is the so-called "entering the ring". Superethereal, it can be a flower in the mirror, a moon in the water, a gazelle hanging on its horn, and there is no trace to be found. The so-called "super image". Color is emptiness, emptiness is color, color is not different from emptiness, and emptiness is not different from color. This is not only the poetic scene in the prosperous Tang Dynasty, but also the painting scene in the Song and Yuan Dynasties. These two sentences express the ultimate ideal and highest achievement of China's art, that is, "chasing the light and painting the shadows, and writing the sky with all my heart". Poetry in Tang and Song Dynasties and paintings in Song and Yuan Dynasties are all the same. The field of China's greatest works of art is rooted in an active, dynamic and rhythmic mind.
The author uses his consistent viewpoint to guide us to appreciate China's poems, paintings and music, especially China's calligraphy. Just like poetry and music, the sorrows and joys of China people can be expressed by calligraphy. No other country writes in this way. The author thinks that writing the history of western art is often based on the architectural style changes of various western times, while the architectural style of China has not changed much, so it cannot be used to distinguish the changes of painting and sculpture styles of various times. However, since Yin Dynasty, the style of calligraphy has changed significantly, which can replace the position of architecture in the history of western art and spy out the characteristics of art in different times.
2. The book Aesthetic Walking shows Mr. Zong's aesthetic thoughts from different angles.
There are four issues in this book, which directly talk about the virtual and the real, and Mr. Zong's appreciation of painting, calligraphy and sculpture is often involved. This paper attempts to start with the exploration of emptiness and reality, and gradually deepen and appreciate the connotation and character of Mr. Zong's aesthetic thought.
Mr. Zong believes that "reality" is the image created by the artist, and "emptiness" is the imagination aroused by the appreciator. Mr. Zong also pointed out that the problem of emptiness and reality is a "problem of philosophical world outlook".
On this issue, Confucianism and Taoism are different. Laozi and Zhuangzi changed from virtual to real, and Confucius and Mencius changed from real to virtual. It is pointed out that both Confucianism and Taoism believe that the universe is virtual and real, so it is not contradictory. Then, Mr Zong quoted A Qing as saying, "Real scenes are empty" and "Real scenes force God to live".
Isn't Da Zhongguang's words "from reality to fiction"? Does Mr Zong think that Confucian philosophy and aesthetic concepts are the source of China's traditional aesthetics? When I read Mr. Zong's sentence, "People in the Jin and Song Dynasties appreciate mountains and rivers, from reality to emptiness, that is, reality is emptiness, and transcend the realm of metaphysics." Teacher Zong mentioned another group of concepts "ethereal and substantial" in aesthetic walking.
"Empty and full" and "empty and solid" are not the same thing. Emptiness and enrichment are divided from the angle of artistic style or aesthetic feeling.
Any work of art is both empty and solid, but it can't be both ethereal and substantial. From the perspective of painting, pure blank (emptiness) does not exist, but exists against the background of scenery.
In this sense, the existence of "emptiness" depends on "reality". Therefore, it is no problem to "empty the real scene".
An excellent painting, naturally, is a combination of reality and reality, rather than a simple virtual or simple reality. Laozi and Zhuangzi are from the virtual to the real, from the virtual to the real, from the ethereal to the vivid; Confucius and Mencius changed from reality to emptiness, from strength to reality, from intention to emptiness, from enrichment to understanding.
Therefore, Laozi and Zhuangzi's transition from emptiness to reality means that their aesthetic thoughts are ethereal; Confucius and Mencius changed from reality to emptiness, which means that their aesthetic thoughts are rich. As for "Jin and Song people admire mountains and rivers, from reality to emptiness", it should refer to the change of aesthetic focus from reality to emptiness, that is, from enrichment to emptiness.
Because of the simplicity and difference of classical Chinese (although Mr. Zong said it), the word "from reality to emptiness" should not have the same meaning. Mr. Zong thinks that emptiness, reality, existence and nothingness are "the principles of all composition".
"The combination of reality and reality" is the core of China's aesthetic thought. What Mr. Zong appreciates is the "revolving interest" of "seeing the infinite in the finite and seeing the finite in the infinite", which corresponds to the three steps of artistic transmission: realism-vivid-wonderful enlightenment.
Mr. Zong emphasized that landscape painting is a kind of "spiritual space" and paid more attention to ethereal beauty. Do virtual reality and make virtual space become real life.
Mr. Zong believes that vanity is "the most vivid source of life" and "the source of all things, the root of all things, and endless creativity." Blank is the foundation of Chinese painting, and void contains everything; Blank is integrated into Vientiane, which is consistent with the "Tao" of Vientiane.
Mr. Zong believes that "the emptiness in the artistic realm is not a vacuum, but a enrichment, and there is a kind of' far-reaching' close to the' true meaning'." So Mr Zong thinks that China's landscape paintings in Song and Yuan Dynasties are the most realistic works.
Not only painting, but also sculpture. There is no blank in sculpture, but the fantastic collocation of light and shadow well reflects the expressive force of "emptiness". "The way to get out of shape is to give up your figure and enjoy the shadow. Although the shadow is empty, it can vividly show the subtle and difficult truth in life. "
The same is true of calligraphy. Mr. Zong believes that the image of calligraphy includes not only lines, but also blanks. It is the virtual spirit in the blank that makes "this word is a stream of life, a dance and a piece of music." What is "dancing"? Mr. Zong believes that "dance" is the combination of the highest reason and the highest life.
"In this kind of dance, rigorous flow is like the order of architecture for music, while convergence is for rhythm." In Mr Zong's view, "dance" is a typical example of all artistic realms in China, which is derived from dance movements, "showing emptiness" and "showing dance and expressing life".
"Dance" symbolizes the creation of the universe, and embodies Tao in still photos, which also embodies China's philosophical thoughts of "no distinction between Tao and utensils" and "no distinction between body and use". What is Tao? "One yin and one yang is the way."
Everything is born of yin and yang. Mr. Zong believes that in the changes of Yin and Yang and the movement of all things, life is a rhythmic life, and "vivid charm" is the highest purpose of China's art.
"Mr. Ye Lang said in class that vivid charm is not only manifested in concrete objects, but also in the void outside the objects. In his book "Aesthetic Walking", Mr. Zong often mentioned "observing Tao with an open mind".
Tao is the soul of the universe, the source of life and the essence of beauty. However, this "Tao" is not an isolated entity, nor an impenetrable virtual body. As the essence of aesthetic object, it exists in the "art" of "soaring everything", that is, the aesthetic time and space of "seeing vulgarity in the empty place and seeing emptiness in the vulgar place" as Mr. Zong said.
True and false have a source, and they are unique. The emptiness of Tao body is reflected in daily life, and the essence of beauty is presented in this vast world. "Viewing Tao" is to deeply understand the soul and life in the object representation with aesthetic eyes and feelings, and to complete and highlight an aesthetic object.
Reading Mr. Zong's Aesthetic Walking, we feel the breath of life, the rhythm of life and the concern for life. As mentioned above, both "dance" and "Tao" are manifested as a kind of movement.
"This endless yin and yang constitutes a rhythmic life." Mr. Zong attaches importance to "emptiness" because it can make his works vivid and give them vitality.
"The vitality of life itself is the source of all beauty, so' nature is invincible'." On the other hand, Mr. Zong's aesthetics shows concern for life everywhere.
Mr. Zong has always insisted on "the artistry of life" and "the humanization of art". Mr. Zong emphasized that beauty comes from the soul ("all beautiful light comes from the source of the soul") and pursued a "freest and richest physical and mental self".
"Jin people discover nature externally and find deep affection internally. The scenery is illusory and emotional. " Mr. Zong also emphasized "the interest of going back and forth" and "nothing".
3. The common aesthetic walking assignments in China's appreciation of traditional poems: ethereal and ethereal: an ethereal and clear heart, which contains various situations, is immersed in people's lives and infects people's souls. Zhou Ji said, "Beginners seek emptiness, and emptiness is aura." Reiki communication is the time when the image presents the soul life and the aesthetic feeling is born.
Therefore, the cultivation of aesthetic feeling lies in being able to be empty, creating a distance for the image, making the image isolated and insulated, and forming its own realm: the curtain of the stage, the frame of the picture, the stone pedestal of the statue, the step railing of the building, the rhythm of poetry, the scenery seen outside the window, the market with lights at night and the quiet scenery under the bright moon are all beautiful scenery born under the conditions of distance and separation. Li's poem "Young Beauty" once said: "The wind is like a fan of rain, and the curtain is like a curtain. Sometimes the flowers and plants on the shore are scarred."
Li Shangyin's Ci: "Painting eaves and flowers like willows is like a city, and it is bright in a curtain of wind and rain." Ups and downs are also good conditions for division. A misty scene, poetic and picturesque.
The apathy of spirit is the basic condition for the etherealization of art, and Tao Yuanming's "Plain-hearted Man" refers to this realm.
One of his poems, Drinking, can better express the poet's mental state in this respect: "Building a house is in a human environment, and there are no chariots and horses. Ask what you can do, your heart is far from self-prejudice.
Picking chrysanthemums under the east fence, you can see Nanshan leisurely. The mountains are getting better and better, and the birds are back.
That makes sense. I forgot what I wanted to say. " 2。
Enrichment: the weather is grand, calm and profound, and the content is substantial. After discussing the ethereal words, I advocate: "Reality is actually full of energy. Full of energy, you can give yourself deep feelings and make a fool of yourself. Although the description is plain and shallow, the feelings are horizontal and there is no owner. People who read the article will peek at the fish in the deep, which means that carp are in a daze in the middle of the night and know nothing about things. Naked children laugh with their mothers, and their hometown is full of emotions.
"This sentence can really describe a substantial creation that touched us. Describing this magnificent artistic spirit, Si Kongtu said: "There are storms in the sky and ashes on the seamounts.
The real strength is full, and everything is around. ""back to muddy, accumulate health for the public ".
"Anger far, did not return. Who is the judge of the wonderful creation of nature? "
"There was a real massacre, and ups and downs followed." "throw it in the wild, turn it to the Tao and be angry."
"Follow the Tao and you will become a spring." "The spirit is empty, the spirit is like a rainbow!" Artists are full of energy and colorful, and artistic creation follows that of Zhen Zai.
3。 Artistic conception: it is the crystallization of "emotion" and "scene" (image). Wang Anshi has a poem: "The willow is dark and the flowers are bright, and the lotus is sunset red, which is beautiful.
Thirty-six vicious spring waters, white heads meet Jiangnan. "The first three sentences are all scenery.
The gorgeous spring scenery in Jiangnan, but after the last sentence, the whole scene was shrouded, ah, infiltration, a layer of boundless melancholy, sadness of memories, and joy of reunion. Scenes interweave and become a beautiful poem.
Ma Yuan Dongli has a poem "Tianjingsha": "Dead vines and old trees faint crows, small bridges and flowing water, old roads and thin horses, sunset-heartbroken people are at the end of the world!" It is also the first four sentences that describe the scenery completely, and the last sentence describes the feelings. The whole article turns into a sad, lonely, desolate and cold universe, touching the endless poetic realm. 4。
Style: China's classical aesthetic theory not only attaches importance to thought-manifested as "bone", but also attaches importance to emotion-manifested as "wind". Shen Lingfu's words don't precede the bones. ..... If you keep your words straight, you will have a good style, you will have a good style.
There is a great debate in academic circles about the understanding of "wind bone", that is, whether "bone" is just a word (paving word). I think "bone" has something to do with words. But words have conceptual content.
When the word is clear, the realistic image it represents or the thinking about the image will be clear. "Concise" means that a sentence should be understood correctly, not distorted or quibbled.
This correct expression resulted in tattoos. But "bones" are not enough. In order to impress people, we must move from logic to art.
So besides "bone", there is also "wind". "Wind" can be moving, and "wind" comes from emotion.
5。 Meteorology: refers to the charm and style of poetry and calligraphy. Tang Hanyu's poem "Recommended Scholars" said: "Jian 'an can do seven things, and Zhuo Yi became a pneumatic drill. By the Jin and Song Dynasties, the weather had faded.
"Guan Li Si Shi": "Today, the Han tablet uses the word Li, and Cheng Miao posts use lower case letters. Judging from its weather, how dare you believe that it was written by Qin people? " Yuan Chucai's "A Gift from Zhang Nan" Part VII: "The article is indescribable, flying in the autumn sky." Xianzu Ye's "Luan Yongji Persuades Officials" in the Ming Dynasty: "This poem is too cabinet, not like Shan Ye people's.
Gong Minchuan Liu Dakui gave a doctor in Qing Dynasty: "A set of finger paintings, delicate pen and ink, flying weather, many people hide it." Above, I hope it will help you.
4. From the aesthetic point of view, 1 is both internal and external-Zong Baihua's "Walking" Zhu Guangqian's attitude towards life has a very admirable spirit, that is, he can't run when he is old, and he has to make a running posture under the big tree in front of his house every morning.
"Running" is full of vitality of life and aesthetic feeling of sports, while "walking" is more leisurely and unrestrained. This reflects the different attitudes and life attitudes of the two masters in the history of modern aesthetics in China.
From the aesthetic system, Zhu Guangqian's aesthetics are western, modern and theoretical, while Zong Baihua's aesthetics are China's, classical and lyrical. It can be said that it is based on the pen of the soul and the words of the book.
Therefore, Mr. Wang has written very little in his life, and there are only 30 papers on aesthetics. The 22 papers collected in this aesthetic walk were written after a lapse of 60 years. At that time, Lv Buwei ordered the public writing of Lu Chunqiu. On the day the book was finished, it accumulated a lot of money and recruited all the scribes in the world to find out its shortcomings. The person who picks out a word is awarded 1000 dollars.
However, for Mr. Zong's aesthetic approach, I think "in a word" is too utilitarian, and every word is more in line with Mr. Zong's temperament. Therefore, I think we should not read such a rare masterpiece, but treat it as a commodity.
Mr. Zong was a poet, a classical romantic poet. He has the artistic soul of "an empty pool and a flowing spring, an ancient mirror shines on the gods" and the artistic personality of "falling flowers are silent and people are indifferent".
He "has an empty mind with thousands of mirrors in it, and all kinds of situations invade people's lives and infect people's nature." Even in his academic works, he took it to the extreme.
(As Tang Junyi said, "Westerners look at art from the perspective of science, while China people look at science from the perspective of art". ) Wang Guowei's "Ci Hua on Earth" said with the word "noisy" that "the branches of red apricots are in a hurry" and the realm is exhausted.
However, Mr. Zong deliberately used the word "line", which shows the true "demeanor" of his academic life. In the leisurely walk of life, all things about beauty, beautiful soul, ancient and modern, Chinese and foreign, have a panoramic view, and then like a trickle in a pine tree, infected the author's spirit.
The biggest difference between Aesthetic Walking and other aesthetic works lies in its poetic language and the expression of the author's true nature. Give one or two examples in the next interview.
In The Birth of China's Artistic Realm, Mr. Zong talked about the differences between Chinese and Western artistic spirits, saying: "In Greek mythology, the God of Narcissus looked at himself from the water, cherishing his fairy posture, and languished to death, while Lansheng Valley in China had its own reflection, narcissism and loneliness, but it was accompanied by a smile. Inhale and exhale, the universe is closely related and self-contained. What a concise and vivid language! What kind of lofty artistic conception is in "On the Significance and Value of Dunhuang Art", he said: "The rich murals and their lofty realm are really like a dream, disappearing from the declining national mind.
What supports the artist's artistic environment is residual water and solitary flowers and leaves. Although it is beautiful, it lacks grand planning.
God bless China! In the Dunhuang Grottoes in Xiqiao, a splendid legacy of thousands of years has been preserved for us. My art history can be rewritten! "Please note that the author who has always been peaceful and indifferent has used two exclamation points here, which shows his joy.
This reminds me of Yu's crying and anger in the Taoist temple tower. As China literati, they are happy or sad because of the rise and fall of the motherland culture.
In The Beauty of Jin People, when talking about the martyrdom of Jin people, he said: "Cao Cao, who claimed to maintain ethics, killed Kong Rong in vain and slaughtered his eight-year-old daughter and nine-year-old child. Who is the real' big rebellion'? " Here, perhaps we don't think Zong Baihua is an aesthetician, but a China scholar with national integrity. Wang Guowei said in "The Words on Earth" that "poets must be inside and outside the universe.
You can write in the air and observe outside the air. It makes you angry inside, but it makes you excited outside. "
And the word "self-satisfied" pointed out by Mr. Zong Baihua in "Aesthetic Walking" is even more leisurely and lofty. He said that "China's poets and painters really appreciate the universe in the spirit of enjoying themselves", and "enjoying themselves" is a rhythmic and musical world outlook of China people.
This smug worldview can be seen from Mr. Zong's short poem "Floating Clouds": At night, I feel my little body is a little star, shining among the stars and flowing with the stars. Then I feel that my heart is a mirror in which the universe shines.
It is with this tolerant mind that Mr. Zong Baihua presents us with a beautiful world of art, life and universe in a "walking" posture. However, this does not mean that the whole book "Aesthetic Walking" is as aimless and unintelligible as walking. It always runs through one of Mr. Wang's aesthetic ideas-all art is based on architecture and music.
He said, "The order structure of music and architecture can directly inspire harmony and rhythm in the universe. Therefore, all art tends to be the architect of music. "
Zong Bing "fiddled and practiced to make the mountain ring", and danced to make it "as close as the order of architecture for the flow of music". Even Germans say that "architecture is solidified music". Art shows the creation of the universe.
How many people can see life in the universe so thoroughly? How many people can take "walking" as their life posture? Yu said, "Let life be purified and full of charm". I think this kind of purification should be sought from the aesthetic walk, and this kind of charm should be tasted from Mr. Zong Baihua's "walking" footprint. From this, I thought of Wang Zengqi's "Take the Ring". There is a couplet on the door of the monk's temple where Zi Ming became a monk: "A big belly can accommodate things that are hard to tolerate in the world and laugh at ridiculous people in the world."
This is the realm of life we are pursuing. Take a walk in aesthetics, and you will find that when we ordinary people read books, paintings, sculptures, architecture and even music, what we see and understand is only a negative with a shape, while Mr. Zong Baihua and his "aesthetic walk" are artists who develop photos, so a colorful photo appears before our eyes, which is just the gossip of Wang Guowei's world.
"Ancient and modern.