Zong Baihua? write

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Li zehou

I am the preface of the 82-year-old Mr. Zong Baihua's Anthology of Aesthetics. I'm really scared: how dare you praise me for giving it to that boy!

When I was studying at Peking University, Zhu Guangqian and Zong Baihua were both at school. However, there was no aesthetics class at that time, and it seemed impossible to put aesthetics on the agenda in the social and political atmosphere in the early days of liberation. I remember that at that time, I didn't even attend a class on the history of China's philosophy, and all the teachers studied Marxism-Leninism and Russian after the ideological reform movement. So although I have long been interested in aesthetics, I have never seen Zhu Hezong at school. 1957 After I published two aesthetic papers, I left Peking University at that time to meet Mr. Zong. Now I vaguely remember that it seems to be a warm early spring weather. I met this old man in an upstairs room by the lake. What was said was completely vague. Only one thing is still vivid as yesterday. This is what I said when I talked about art in my article. "It can be the subject of writing dozens of books." In this regard, Mr. Zong greatly appreciated it. This sentence itself doesn't make much sense. It has nothing to do with the theme of my article, and there is nothing special about it. What's worth noting about this? I was quite puzzled at that time, so I was particularly impressed. Later, I gradually realized that Mr. Zong paid special attention to this sentence, probably because of his rich experience in art appreciation all his life, and deeply lamented that there were many articles to be written in this field, and how few books we had at that time (or even now). This abstract argument, which doesn't make much sense to me, has profound concrete feelings in Mr. Zong's mind. No wonder Hegel said that the same sentence, said by different people, has very different meanings.

Mr. Zong really has a lot to say about art. Mr. Zong loves art so much. I know. I've seen it a few times. Mr. Zong, alone or with three or four young people, came by car from outside the city and visited various exhibitions with great interest on crutches: painting, calligraphy, cultural relics and ceramics. Until the old age, it is still the case. He often points to his own works and says, how beautiful! As for why and where beauty lies, it is often understandable and difficult to describe. At that time, many students at Peking University said that Mr. Zong was an expert.

I have been afraid of being a guest since I was a child, and I have been lazy to walk around. I talked with Mr. Zong for a long time, only once. But from the above-mentioned incomprehensible words and Mr. Zong's love for exhibition, I finally realized that Mr. Zong's conversation and his writing have a characteristic, that is, an intuitive grasp with emotional color. This time, when I read many articles by Mr. Zong (most of which I haven't read before), I felt this again: they have quite accurately grasped what belongs to the essence of art, especially the characteristics of China art, such as the space consciousness full of human feelings in China art, the fact that music and calligraphy are the soul of China art, and many comparisons between Chinese and Western art, etc. Mr. Ruzong said: "A universe full of musical interest (integration of time and space) is the artistic realm of China painters and poets." (page 89) "... when we appreciate landscape paintings, we also look up at the high peaks first, then go down layer by layer, look at the distant valleys, turn to the water side under the close-up forest, and finally reach the beach island horizontally. The distant mountains and the close-up view form a plane spatial rhythm, because our sight is tortuous from top to bottom, which is a rhythmic movement. The space here is not a perspective three-dimensional space, but a virtual space framework for setting, but it also participates in the whole rhythm and is dominated by the whole music, which is precisely to turn the virtual into reality. Let virtual space become real life. ”？ (page 92)

Whether it is detailed or short and pithy, it will always be an intuitive grasp with philosophical feelings. It doesn't do strict logical analysis or detailed systematic argumentation, but comes straight to the point, points out concisely and appeals to people's understanding, thus making people think and experience. In Peking University, when it comes to aesthetics, Mr. Zhu Guangqian and Mr. Zong Baihua are always mentioned. Mr. Zhu's authority at home and abroad has long been famous all over the world, so I won't say much. But it is interesting to compare the two old people (although this comparison is only in a very limited relative sense). Both of them are similar in age and generation, and both of them are proficient in Chinese and western cultures, and their attainments are extremely high. But Mr. Zhu wrote a lot before and after liberation, but Mr. Zong seldom wrote. Teacher Zhu's articles and way of thinking are inferential, while Teacher Zong is lyrical. Mr. Zhu is partial to literature and Mr. Zong is partial to art; Mr. Zhu is more modern, western and scientific. Mr. Zong is more classical, China and artistic; Mr. Zhu is a scholar and Mr. Zong is a poet. Mr. Zong was an influential poet in the 1920s, and published a collection of poems. Like its fresh form, China1920s' new poetry always feels that its content is full of youthful commerce, ethereal and beautiful, with longing and expectation for the future full of fresh words, and with self-awakening exploration and pursuit of the universe, life and life. In China in the 1920s, just after the baptism of the May 4th New Culture Movement, groups of young people were liberated from the womb of feudal mothers or demanded liberation. In the face of the increasingly industrialized new world, new feelings, new discoveries, new consternation, new sighs, new praises, new attachment and new sadness about life, life, nature, the vast world and the boundless universe are sent out in the sensitive young hearts that inherit ancient culture and accept ideas from the West. Like the poems of,, Kang, Shen, Xu Dishan, Zhu Ziqing and others, Mr. Zong's flowing in those days more or less exudes such an atmosphere of the times. However, I feel that this admiration and praise for the vitality of life and philosophical thinking about the life of the universe are the unique maintenance of Mr. Zong from his early years to his later years, which constitutes the distinctive features of these aesthetic chapters of Mr. Zong. Look at those two Rodin articles. They were written decades apart and have the same mental outlook. You see, Mr. Zong repeatedly mentioned Zhouyi and Zhuangzi, and repeatedly emphasized that China's aesthetics is mainly based on the charm and vitality of business, and "the grand view is small" is not limited to simulation; Mr Zong keeps saying that "China people don't" pursue "infinity like Faust, but find infinity in a mountain and a valley, a flower and a bird, so his attitude is carefree, far-reaching and self-sufficient. He is detached, but not born "(page 125) and so on. Isn't this the consistent theme of this aesthetic walk? Isn't it also Mr. Zong's attitude towards life as a poet? Confucianism's spirit of "Heaven is powerful, and gentlemen strive for self-improvement", Zhuangzi's philosophy characterized by his aesthetic attitude towards life, China's Buddhism and Zen, and Qu Sao's tradition, I think this is the essence and soul of China's aesthetics. Mr. Zong intuitively grasped and emphasized this soul (especially the first three) with the sensitivity of the poet and the feelings of modern people. I think this is the value of this book.

Mr Zong's poem says:

"The rhythm of life, the rhythm of machines,

The wheel that drives society, the melody of the universe.

White clouds are floating in the paste,

The crowd will be in a hurry!

…………

Is it a poem, a dream, a desolation or a memory?

A thread of love weaves the vision of life.

The earth is sleeping outside the window!

The man in the window,

Leading the deep and secret echo of the distant world. "(page 242)

In the alienated world where the "machine rhythm" is getting faster and faster and the "life rhythm" is getting more and more tense, isn't it a worldwide problem worthy of attention in today's modern society how to maintain human poetry, life, longing and affection? Isn't that what the philosophy of beauty should study today? Can Mr. Zong's aesthetic approach enlighten us in this respect? I think, yes. ? I haven't seen Mr. Zong for many years since we met on the top floor of the Peace Hotel. I wonder if Mr. Zong is still walking by the unnamed lake with crutches? The unnamed lake is also a beautiful place where my youth disappeared. How can I forget it? Teacher Zhu Zong's aesthetic approach continues, and I wish the elders a long life.

1 in the winter of 1980, it was booked in Hepingli District 91.