This is a big topic, involving all aspects of human activities and the cultural background of all nationalities in the world. Living habits, material conditions, geographical location, climate and environment, lighting time and many other factors directly affect the cultural customs of a region and a nation. This paper aims at expounding aesthetic consciousness, hoping to have certain positive significance for our stone appreciation activities.
Modern physiological and psychological research shows that there is indeed a subconscious field in human brain regions. The discovery of this peculiar subconscious function not only corrects the previously unexplained myth, but also explains the objective law of human brain evolution more scientifically. This subconscious field of the human brain can be divided into congenital inheritance and acquired deposition. Theoretically, it can be divided into two categories: racial subconscious and individual subconscious. According to W. Boller's experimental report, people's sensory ability is continuous. Before the newborn was born, he wrote complicated and difficult-to-read or even unrecognizable special marks in his brain. This imprint is the sensory notch of many distant ancestors, which some people call racial subconscious or genetic genes. Individual subconsciousness is the memory trace left by all acquired experience and rational consciousness in the brain layer, and it is the trace left by historical events that have the deepest influence and the biggest touch on people in real life. All these memories stored in the cerebral cortex will leave different reactions in the subconscious, which will dominate all human behavior consciousness.
China stone connoisseurs and artists should be sensitive to things and have advanced aesthetic consciousness. When they see something as it really is in the real world, they will have strong emotional activities. Although it is impossible to explain the thinking ability of things from scientific theory, it is certain that their perception ability of things is different from that of ordinary people. When they find a special and noteworthy material phenomenon, they absorb it into their hearts with enthusiasm and curiosity. From the initial feeling of independent image, through subconscious cultivation, and then organically combined with other things, thus creating a typical thinking. The significance of this typical thinking is the reappearance of things and phenomena observed by connoisseurs before.
If a material phenomenon can form and express the aesthetic motivation of the times, they can get rid of the narrow cognitive circle of individuals and project extra aesthetic attention to the whole material phenomenon. We can strengthen our activity intention, carefully observe, experience, capture and reveal the aesthetic characteristics of our times, and bring these phenomena into our own field of vision, thus forming a stable and complete practical content in the whole aesthetic creation activity. At the same time, in the overall structure of aesthetic personality, what is relatively stable and quite different is that connoisseurs have different views on observation, perception, analysis and imagination at different levels.
In the soil of China's feudal society, it is impossible to bloom the artistic flowers of ancient Greece, which shows a strong body, a strong body and a bare chest and abdomen. There can't be a naked female image like Venus, and there can't be a naked male statue like David. Western artistic creation is an intuitive expression of exquisite muscle blocks and flexible joints. Oriental art, on the other hand, makes full use of the packaging image of external conditions to insinuate the inner temperament and imagination of the human body. China's figure painting and sculpture did not have a standard proportion from the beginning, and no work in history can be called proportion and artistic conception by the scientific method of golden section. It was not until modern times that the appearance of Xi 'an Terracotta Warriors and Horses made us see the correctness of the digital ratio more than 2,000 years ago. But still wrapped in heavy armor and wearing boots. Even this scientific proportion of characters was not adopted by later artists. In the feudal society of China, it is impossible for artists to see the intuitive human body with their own eyes, let alone vent the prototype of human body art. In the final analysis, it is an ignorance and taboo to the artistic image of human body beauty. In China's ethics, the education that women don't show their skin and men don't show their umbilicus has become a shackle that restricts people's will and behavior and prohibits self-knowledge. In the history of China, what was considered outrageous was taken for granted by their ancestors in the west. Only in modern times did China's art world accept the essence of western culture and seem to realize that the human body is the most beautiful part in the world?
Since the artistic human body began to be used in a small scale in China, it has been difficult and full of obstacles, and it has denounced pornographic and yellow rendering. Because of this enlightenment to the mystery of the human body itself, the national alternative is more willing to take the initiative to solve this mystery. The more people who can't see the real human body, the more they show their desire for unknown areas, especially the most hidden reproductive organs, which has become the strongest target of China's revenge. Therefore, the most vicious and ugly language used by China people is to attack the genitals of men and women. As we know, foreigners' vicious language attacks only emphasize the low personality and ignorance. Even if they call names, it seems that they are not as ugly and tricky as China people.
In the past twenty years, there have been more body arts and things called nudity in China, and people seem to be used to it. From the beginning, the man's eyes were in a daze, to the woman's face covered with a shame towel, it seems that the theory of the most beautiful part of the human body began to be recognized to some extent.
Western painting is to paint on canvas repeatedly with pigments, giving light and shadow and perspective effects. China's painting is to make full use of illusory and simple techniques to summarize the image and depth of field on a piece of white paper. China's writing is a word-for-word affirmation of human activities, which is appreciated as an independent calligraphy art until the ancient original writing is interpreted. In the west, more than twenty letters have been pieced together repeatedly to reflect human social activities. The meanings of some words in these pinyin products have changed over time, and later people don't understand their original meanings, which has been confirmed in many articles. China's language habits often use metaphors, hints, euphemisms, twists and turns to express important meanings. The west emphasizes the important content directly, stiffly, loudly and directly. People in China look at each other, and the lightness, heaviness, slowness and urgency of a sentence have different meanings, while westerners simply don't understand its meaning. This is of course closely related to living habits, geographical location and natural environment.
From these differences, we can imagine that primitive people in the East and West, active and passive sensory objects, are more in line with the original form with some truth and imagination. The beauty and ugliness of a thing is determined by its relationship with people. People will constantly look for those aesthetic feelings related to themselves through the will, emotion and desire expressed by this natural feeling form. This strong desire for spiritual needs has induced cultural phenomena such as calligraphy fever, poetry fever and collection fever that were once lost in contemporary China society.
The differences between eastern and western aesthetic consciousness are mainly manifested in culture, art and ideology. There are too many differences in literature, poetry, drama, film, dance, painting, sculpture, architecture, aesthetic education and values. A great literary work is not displayed because of personal misfortune, but only when it can serve all mankind. The occurrence and development of a cultural phenomenon is the product of human long-term aesthetic practice. People's sense of beauty is gradually formed and perfected in the long-term aesthetic practice, and it is obtained through the inheritance of ethnic groups. In the process of historical development, a lot of information in the human brain is the physiological trace of one's own racial experience, which forms various unconscious prototypes and becomes an innate natural instinct of human beings. Once the aesthetic object awakens those hidden prototypes in the human brain, it can instinctively obtain the aesthetic feeling of this prototype by virtue of experience and association.
Our Chinese nation is an empirical nation, and our thinking is also empirical thinking. It is not surprising that the ideology bred in this cultural atmosphere will intentionally or unintentionally exclude and exclude the invasion of foreign cultures.
China's bonsai art and stone appreciation culture are unique in the world and have a strong national background. She fully embodies the Chinese nation's love for nature, life and positive psychological factors. It is cultivated by national psychological constraints and unique national cultural soil.
China's philosophy is based on the doctrine of the mean and humility, and regards the unity of man and nature and selflessness as the highest. The basic attitude of westerners is the opposition between things and me. Under the domination of opposing thoughts, westerners attach great importance to the objective understanding of things, from grasping the thinking of objects by conceptual reasoning to analyzing the objects themselves through experiments and paying attention to the substantive effects of the objects themselves, thus revealing the rational understanding of the laws of things. In aesthetic thought, more emphasis is placed on human factors and quantitative microcosmic.
Through the above analysis, we can't arbitrarily and unilaterally say which is better and which is worse. After a fierce impact, two different types of cultural systems in the East and the West have initially formed a trend of mutual exchange and integration. Over the past century, advanced intellectuals in China have introduced and absorbed the essence of western culture to guide China's social practice, which has proved to be correct. Western aesthetic concepts have also brought great vitality to China's artistic creation, which marks the progress of an era.
China's aesthetic concept is gradually accepted and liked by westerners. The number of foreigners who like Sinology and Chinese character culture studying in China is also increasing. Modern bonsai art and stone appreciation culture have also touched the closed hearts of westerners through different channels. Although their appreciation style is different from that of China, they have learned the good habit of living in harmony with nature from the Chinese.
Human beings have paid a great price for pursuing the ideological realm of beautiful things and free life style. In everyone's aesthetic psychological structure, there are too many tragic consciousness. The root of this consciousness is that many beautiful things in human history have been artificially suppressed and destroyed. After generations of ideal dreams are shattered by harsh reality, that kind of sad beauty can arouse the whole human society, and this aesthetic concept makes us get some psychological compensation and balance.
There are two contradictions in people's cognitive thinking: assimilation and adaptation. Assimilation is to integrate the object into the subject. Adaptation is the initiative of the subject to the object, and the function of integrating the original aesthetic object is of course easy to be assimilated by the object. The final result of this assimilation and adaptation can only enrich the aesthetic level of the original in quantity. Writers, artists and related connoisseurs should shoulder the mission of improving aesthetic taste and ability. Any immortal works in history always meet the aesthetic needs of that era, thus surpassing the limitations of history and becoming the spiritual wealth of all mankind.