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Inscription poem:

Love moves with things, and words are sent with feelings. Feelings are like gifts, like answers.

Model landscape, the heart is to serve things. Write an angry picture and be tactful.

Less wins more, and the appearance is clear. With simplicity, you can control complexity and swim with your heart.

Without a few words, it is complicated to be more detailed. A great skill is clumsiness and inaction.

Man is nature, and I don't care about things.

This paper analyzes the theoretical connotation of Wen Xin Diao Long Search from the aesthetic point of view. This paper points out that the meaning of "seeking" is not the same as "things", but the focus is on the external form (formal beauty) of things, that is, the correspondence between the form of natural things and the emotional structure of people. The author thinks that, while inheriting China's classical aesthetics, Searching for Things expresses the relationship between things, feelings and words completely for the first time, and describes the process from "the poet's sense of things" to the materialization of aesthetic images, which is a theoretical breakthrough of China's ancient aesthetics. The article points out that Liu Xie's analysis of the two-way interaction between aesthetic subject and object is not a general "sense of things", but only pays attention to the feeling of things to the heart and regards the subject as passive acceptance. Instead, he emphasizes the control and domination of the heart over things while emphasizing the "sense of things" and "wandering with things" and "wandering with one's heart" Thus, the main creative function of "Xing" is expounded. ? Key words? Looking for; Formal beauty; Xing; simplify

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The article "Seeking" in Wen Xin Diao Long occupies an important position in Liu Xie's creative theory and has unique value and significance in the development history of China's classical aesthetics, which deserves further discussion.

Searching is an article devoted to the relationship among things, feelings and words. This paper not only discusses the induction of things to heart (emotion), but also discusses the control and sublimation of heart (emotion) to things, discusses the language expression of literary creation in the interaction between subject and object, and puts forward the problem of the disposition ability of aesthetic subjects for the first time in the history of classical aesthetics in China.

"Looking for" refers to natural objects. Judging from the full text of Searching, "things" are natural scenery and need no explanation. And "color" borrowed the concept of Buddhism. In Buddhism, "color" refers to material phenomena, but in essence, "color" mainly refers to phenomena. Because "emptiness" is the most basic category of Buddhism, and "emptiness" in Buddhism is not emptiness, but an illusion of everything in the world. "Color is not different empty, empty is not different color, color is empty, ok? Empty is color "[1] is the basic proposition of Mahayana Buddhism. Liu Xie entered Ding Lin Temple in his early years. With the help of monks, he helped them to sort out a large number of Buddhist scriptures and was quite familiar with Buddhism. The connotation of "seeking" is not without Buddhist color. Xiao Tong, Prince of Liang Zhaoming, is a master of Thirteen Series of Selected Works, and has been entrusted with the mission of "collecting talents". Shan Li noticed that "seeking" was "seeking the four seasons" and assigned it. There are clouds and things with words and colors. "It can be seen that" seeking "not only refers to the natural scenery itself, but also refers to the formal beauty of natural scenery. From this point of view, it can be said that Liu Xie's theory of scene relationship is meaningful, which is different from Lu Ji's so-called "arguing over everything". Zhong Rong's so-called "animals with breath are moving, so they swing their temperament and dance their shapes" and pay more attention to the formal beauty of natural scenery "contains both the internal vitality and the external formal beauty of natural scenery.

The opening paragraph of "Looking for" has rich aesthetic significance: "The order of the Spring and Autumn Period made the teacher of Yin and Yang miserable, and the heart wavered when looking for it. Gaiyang is full of vitality and mysterious steps, the yin method condenses and the birds are ashamed, the insects are still in love, and the animals are deep in the four seasons. If the husband is considerate and Huaying is sober, who will be safe if you find a phone call? It is to present the Spring Festival to spring, beaming; Xia Meng, Yu Tao's heart is cohesive; The sky is high, the clouds are light, the sky is gloomy, the snow is boundless, and I am deeply concerned. There are things in the s, and there are things in it; Love moves with things, and words are sent with feelings. A leaf is popular, and the sound of insects is enough to attract people's hearts. The breeze is the same as the bright moon, and the day is against the spring forest! " In this passage, Liu Xie focuses on the inductive effect of things on the mind. Mind and things can be regarded as the subject and object of aesthetics here. The author points out that changes in natural seasons and climate cause changes in things, and changes in things arouse people's hearts. The "thing" here is "seeking", that is, the external appearance and formal beauty of natural scenery. It is "seeking" that awakens the mind. Therefore, "seeking the heart and shaking the heart" cannot be easily let go. Compared with the proposition that "people's hearts move and things follow" in Yue Ji, at first glance, it seems to be no different, but in fact, it puts forward the formal beauty of "things" as an aesthetic object more clearly. "Looking for a phone, who will be safe!" In other words, inspired by natural images, people's inner surge is still concentrated on the external appearance of natural scenery. "Doing something old and not doing something" is even more clear. "Rong" is the "appearance" of things, that is, the formal beauty of things.

Liu Xie also discusses the corresponding relationship between the form of natural things and the emotional structure of people here. "Dedicate the New Year to spring." Everything is full of vitality, making people "happy"; "Talking about Xia Meng" makes people "Yu Tao's heart coagulate"; The autumn day of "the sky is high and cool" makes people "gloomy"; The "endless snow" winter makes people "deeply worried". The changes of festivals and things throughout the year make nature change in different colors, thus producing different emotions. The western Gestalt School once studied the "heterogeneous isomorphism" relationship between external natural things and human emotions. According to the Gestalt School, external natural things and artistic forms have human emotions, mainly because the power of the external world (physical) and the power of the internal world (psychological) are "isomorphic" or heterogeneous isomorphic in formal structure. Although the materials between the two structures are different, they are essentially stressed structures. Therefore, it will achieve harmony, consistency or integration in the physiological electric field of the brain. When these two structures merge and fit in the brain force field, the boundary between external things and human emotions is blurred. It is precisely because of the disappearance of the boundary between spirit and matter that external things look like human emotional attributes. This convincingly explains the corresponding relationship between the changes of natural scenery and people's emotions. Mr. Li Zehou also described: "Originally, nature has a seasonal cycle of alternating day and night, the human body has a heart rhythm of birth and death, and the mind has the joys and sorrows of secular desires. Isn't there some form, structure, regularity, vitality and life between them (between things and feelings, between man and nature, ...)? ……

Cheerful mood and generous and soft orchid leaves, passionate and strong emotions and tall and hard tree knots; Lush trees, the spring mountain of business and your cheerful mood; Autumn mountain with fallen leaves and your bleak mood; The pleasure of standing in front of the waterfall, the leisure and warmth of stopping by the gurgling stream; You see the momentum when the storm, the lightness when the wicker is windward. This passage vividly reveals the corresponding relationship between things and feelings. Liu Xie's exposition corresponds the four seasons of nature (that is, "seeking") with people's emotional forms, revealing the inevitable relationship between them. Although it is not detailed enough, it is deeper and more systematic than the previous "sense of things" theory. Moreover, Liu Xie's exposition also implies the changes brought by the inherent vitality of the universe to the formal beauty of natural scenery, and points out that this formal beauty has a stimulating effect on people's emotions, from which we cannot help but see the unique value of Liu Xie's views in China's classical aesthetics.

Arnheim's Aesthetic Thought: 172, 164? Who is it? : Shi Fenghua, 164

Gestalt psychological aesthetics and image analysis of China's ancient poems 5

Generally speaking, although the choice of images is based on the harmony between mind and matter in a specific situation, images are biased. The diversity of the external world, the limitation of subjective mind and the restriction of culture itself determine that the poet's exploration of images can only be "seeing the trees but not the forest", which means that images have the limitations of feeling, the directivity of thinking and the accumulation of history. In China's ancient poems, a large number of poems centered on the images of pine, bamboo and plum tend to express ethical demands and broad-minded demands without pure aesthetic experience, which can not be explained only by "heterogeneous isomorphism", but may have more important national cultural and psychological factors. )

(Wen Xin Diao Long is more invisible than 5 Tong Qingbing)

For the first time, Liu Xie fully expressed the relationship between things, feelings and words, and closely linked the relationship between feelings and things with the language expression of literary creation. The proposition that "feelings move with things and words move with feelings" seems simple, but it is actually an important breakthrough in the history of aesthetic thought. In the past, when discussing the relationship between mind and matter, language expression was not involved. Basically, they all discussed their feelings about things in their hearts, and their hearts were influenced by the feelings of things, while Yue Ji and Wen Fu stopped here. Liu Xie explored the dynamic basis of language expression in poetry creation, and thought that language expression was based on the poet's emotional mobilization. At the same time, he pointed out that the fluctuation and change of emotions are inspired and influenced by the changes of external things. In the past, the theory of "sense of things" was all about the feelings of external things on the mentality of the creative subject, but it was not implemented in the materialization process of literary creation. In fact, any literary creation must be embodied in the materialization of aesthetic images created by writers, that is, in literary texts. In Wen Xin Diao Long, Liu Xie attaches great importance to the materialization process of literary creation, that is, language expression. At the same time, it is closely related to the appeal and influence of external things. This is more comprehensive than the western formalism aesthetics. Formalist aesthetics only pays attention to the language construction of the text itself, completely abandons the psychological world of the creative subject and the aesthetic acceptance of the reader, and denounces it as "intentional fallacy" and "sensory fallacy", which is obviously too biased (representative theory). However, the theory of "sense of things" in China's ancient poetics focuses on the psychological feelings of the creative subject about things, and seldom talks about the language expression of literary texts. Both of them are biased, and Liu Xie comprehensively discusses that literary creation originates from the mentality that the creative subject comes from foreign objects, arouses the author's emotion, and thus enters the creative process (materializing the aesthetic images emerging in his own mind and forming the creative mechanism), which is a noteworthy breakthrough in China's classical literary aesthetics. (heartbeat theory)

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Liu Xie did not stay in the general discussion of "emotion moves with things, words move with feelings", but described the process from "the poet feels things" to the materialization of aesthetic images, and emphasized the prominent role of the psychological mechanism of the creative subject in the creative process. Let's look at Liu Xie's next exposition: "It is a place where poets feel things, but they are not poor in association. When wandering around everything, try to figure out what they hear and hear; Write a neat picture, not only with things, but also with your heart. Therefore, the burning peach blossom is fresh, willow-like, sunrise-like, rain-like, screaming at the voice of the yellow bird. This is a bright day and stars, one word is poverty; Staggered and changeable, poor words; And use less, use more, and have a clear appearance. Although it has been thought for thousands of years, what can be easily taken away? Li Sao is thriving and lingering, and the appearance of things is difficult to describe, so it is heavy and comfortable, so it is awkward and crowded. And the people of Changqing, full of deceit, full of water, will file their words. The so-called poet's beauty is talked about, and the text is gorgeous and complicated. "The aesthetic connotation of this exposition is very rich. By comparing the creative methods and aesthetic modes between The Book of Songs and Han Fu, Liu Xie summed up two opposing aesthetic principles, and he was obviously biased towards the aesthetic principles embodied in The Book of Songs. Among them, Liu Xie emphasized the two-way interaction between aesthetic subject and object, profoundly revealed the intentional relationship between central objects in the creative process, and highlighted the important position of the poet's "heart" connecting "things" and "words". Liu Xie first talked about the inspiration of "hunting" to the poet's heart. Under the call of the formal beauty of external things, the poet has produced endless associations and many vivid aesthetic images. " Wandering in Vientiane is a lot of aesthetic images inspired by Looking for, all of which have visual and auditory aesthetic pleasure. However, these numerous and uncertain aesthetic images cannot appear in the poet's works out of order. Images fixed in literary texts. In the concrete form, it is highly summarized, which is the process of "less is always more, and the feelings and appearances are all clear". On the one hand, it reproduces the appearance of "things", that is, the so-called "landscape representation", which changes with things, showing that the subject approaches and imitates the object; At the same time, Liu Xie emphasized the active role of the creative subject in the process of materialization of aesthetic images, that is, the so-called "returning to the sound, but also swimming with the heart". The control and containment of the mind on things is manifested in the manipulation and control of the subject on the object. In Liu Xie's view, only by giving full play to the dominant and operational functions of the mind can we create extremely wonderful and "twice the result with half the effort" works. Liu Xie thinks The Book of Songs is a model in this respect. Some language expressions in The Book of Songs, such as "the freshness of a burning peach blossom, the appearance of a willow tree, the appearance of a sunrise, and the appearance of rain and snow", all write the spirit and form of "things" in very simple and vivid language and become "after thousands of years of thinking, how can we take them away? The expression of these words in The Book of Songs is, on the one hand, the product of describing the air and imitating the state of things, and on the other hand, the result of the creative subject giving full play to the structural role of language and controlling the aesthetic subject.

The artistic expression methods used in The Book of Songs have three meanings: Fu, Bi and Xing, among which Bi Xing can better represent the characteristics of The Book of Songs. Of the two methods, Liu Xie paid more attention to Xing. He talked about Xing Yun: "Poetry and prose are magnificent, with six meanings, and Mao Gong narrated and passed on, forming his own family;" Instead of being obvious and hiding, why not give the same wind? So attach a comparison; Ye Qi traveler. Those who are attached to the principle refer to things, while those who are emotional give priority to suggestions. Starting from emotion, the body is established and the proportion of reason is born. Compared with animals, animals are angry to denounce words, while excited people are arrogant to remember sarcasm. Gai has different meanings at any time, so the poet has two ambitions. " 〔3? Liu Xie thinks that Bi Xing is two ways for poets to express their feelings. Bixing is comparison, and Xing Xing is rising. The so-called "xing", that is, the poet Li of the Song Dynasty said "touching things and feeling" is the most appropriate. These poems cited by Liu Xie in Shuo Wen Jie Zi belong to the category of "Xing". Because the logical starting point of this article is "touch things and feel". In Liu Xie's concept, Xing is the protagonist of the aesthetic subject, and it is natural and graceful. That is, the article "Looking for" means "more with less". Liu Xie compared the Book of Songs with Han Fu and pointed out that they each followed different aesthetic principles, that is, he said: "Poets are beautiful and keep their words, but their words are beautiful and complicated." Obviously, these two sentences come from Yang Xiong's proposal that "poets should be endowed with beauty, and poets should be endowed with beauty and lewdness." The proposition of [5]. ? Liu Xie was quite dissatisfied with and criticized the writing of complicated and obscene sentences in Han Fu. He thinks that Fu is a stream of poetry, but its last stream is just "writing things and painting, like carving and painting." His feeling is, "However, he despises the essence of this book. Although he has read thousands of poems, he is more confused about his body. So his prosperity is damaged, his bones are damaged, and there is no expensive wind track. It's no use admonishing him. Therefore, this Yang Zi regrets carving insects and embarrassing people in Fog Valley. " [6] One of the reasons is that the author only pursues the description of the form, and his heart serves things, but he can't play the role of the aesthetic subject in manipulating and controlling the object. He thinks that Chu Sao is the transition from the Book of Songs to Han Fu, but in Chu Sao, we have already seen the extremely poor appearance, the clue of "overlapping Shu shapes" and the precursor of "not being good at flooding". "The appearance of things is difficult to complete, so it is a comfortable overlap, so it is uneven. "And the people of Changqing, the paradox is magnificent, the mold mountain is full of water, and what you say will be rewarded. The so-called poet talks about beauty, and his words are gorgeous and complicated. " This paper discusses the evolutionary relationship among "poetry", "Sao" and "Fu", especially reveals the differences between these two aesthetic principles. First, the interaction between mind and things, that is, paying attention to the feeling of things to the heart and the control of things by the heart, can receive the aesthetic effect of "less is more, and all feelings are clear"; First, the mind is a material service, and the mold mountain is a mold water. When the subject is in a passive state, it can only be a complex sentence and a material form.

Liu Xie also linked this issue with Bi Xing. He believes that the art of great fu is to use comparison to abandon prosperity: "If so, ci fu is the first, daily comparison, forgetting the month, learning small and abandoning big, so thank Zhou people." As for Bunyan's theory, Cao Liu looked down, painted mountains and rivers, and wrote clouds and shadows, all of which were more comprehensive than righteousness, so as to show his brilliance. Looking back, he realized this achievement. ""Although Han Yan was prosperous, people praised him and poetry stabbed him, so Xingyi died. " 〔7〕? Accusing people with profound ci and fu forget the excitement, so they lack the poet's emotional creation and rely more on foreign things.

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How can we make the works have lasting artistic charm? Liu Xie pointed out: "In modern times, Wen Gui is similar in shape, and he looks at the scenery and drills the vegetation. Singing is far-reaching; The body is great and the work fits well. Therefore, the clever words are shaped, such as Yin Yinni, not carving, and writing mustard seeds; So you can see the appearance by reading the words, and you can know the time by reading the printing. However, things have a constant posture, but there is no fixed thinking, or the rate is extreme, or thinking is even more sparse. Poetry is marked by Sao, but according to the key points, so I am backward and sharp, and dare not compete. It is because of ingenuity, that is, the situation is unfamiliar and good at adapting, but it is also the alternation of old and new. It is a fourth-order dispute, a prosperous time; Although the search is complex, the analysis is simple; Make the taste fluttering and light, and the feelings are completely new. " Liu Xie gave an incisive answer here. He believes that in order to make the works have the artistic charm of continuous reading and innovation, we must first "be appropriate", that is, grasp the essence of the object of description. He takes poetry and Sao as the artistic paradigm, and thinks that the artistic experience of poetry and Sao is mainly to "focus on" and grasp the key characteristics of things. But as an aesthetic object, things have a fixed form, but the subject's mentality is constantly changing. Therefore, there is no certain rule in grasping the characteristics of things, but we should randomly capture the instantaneous characteristics of things, that is, "follow the trend, that is, follow the trend." This grasp of the instantaneous characteristics lies in the spirit and spiritual luck of the aesthetic subject to a great extent! ? (Moment is eternity)

Liu Xie emphasizes simplicity to control complexity. He thinks that simple strokes can better express the characteristics of things. "Although the search is complicated, the analysis is simple", which contains profound dialectics. The forms of objective things are ever-changing, and there are many kinds. To express the beautiful features of things, we must use simple and wonderful words. This can't help but remind us of the simplification law put forward by Gestalt psychological aesthetics. Arnheim, the representative figure of Gestalt psychological aesthetics, deeply studied the aesthetic law of visual art, and he particularly emphasized the selectivity and simplification of vision. He believes that "vision and photography are absolutely different. Its activity is not a passive acceptance activity like photography, but a positive exploration. Vision is highly selective. It not only chooses what attracts it, but also chooses anything it sees. The camera faithfully records all the details of things, but the vision does not. ..... Watching means capturing some of the most prominent features of things in front of you. " This is the selective and simplified function of vision. So, what is the positive effect of this selectivity and simplification? Arnheim added: "Several prominent signs or features selected from a complex thing can also arouse people's memory of this complex thing. In fact, these prominent signs are not only enough for people to recognize things, but also convey a vivid impression that this is a complete image of real things. " 〔8? This "simplification" principle is recognized by gestalt psychologists through psychological experiments; Coincidentally, China's classical literature aesthetics especially praised this principle. Whether it is poetry or painting, simplicity is a universal aesthetic taste. As early as the Wei, Jin, Southern and Northern Dynasties, Liu Xie systematically put forward the principle of "simplification" in poetry creation, and formally put forward the aesthetic proposition of "finding complex words and analyzing them briefly", which is really commendable.

"Simplification" does not mean simplicity. On the contrary, it is to show the infinite richness of the works. In this regard, arnheim also made a profound exposition. He said: "Simplification often has another meaning opposite to simplicity in the field of art, and it is often regarded as an extremely important feature of works of art ..... When a work of art is praised as simplification, people always refer to it as organizing rich meanings and diverse forms into a unified structure. ..... Therefore, simplification caused by the unification of artistic concepts is by no means the opposite of complexity. Only when it grasps the infinite richness of the world instead of fleeing to poverty and isolation can it show the real advantage of simplification. " [9] "simplification"? It is precisely to show the infinite richness of aesthetic objects, which is not a thought-provoking artistic philosophy! Liu Xie's poetic viewpoint in Seeking Ci is strikingly similar to this, that is, "there is always more in less, and all feelings are clear", and "finding more than enough" means writing the infinite richness of aesthetic objects with the brush strokes of "analyzing Ci and simplifying it". Man is nature and I am one.

Liu Xie also linked the principle of simplification with the aesthetic effect obtained by the appreciator. It is precisely because "the analysis of words is simple" that the main features of things are grasped, leaving more "undetermined points" for readers, giving readers more freedom to create space, making readers feel "light" aesthetic interest, and the works gain new emotional experience and creative happiness from different readers. The word "made" changed the topic from creation to appreciation. The intention of the creative subject to simplify language expression is precisely to let the audience gain more creative freedom. (blank)

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"Search" article "Zan" said: "The mountains are piled with water, and the trees are mixed with clouds. The eyes are still in the past, and the heart is breathing. The autumn wind is rustling in the Spring Festival Evening. Love is like a gift and a gift. " These four-character poems are not only beautifully written, but also have profound aesthetic theoretical significance, which is a poetic summary and sublimation of the whole idea. Ji Yun's evaluation of this praise is: "Among all the praises, this is the first one." [10] is not empty talk.

The "search" of nature, with its ever-changing posture and vigorous vitality, inspires the poet's feelings. Poets have a very close relationship with nature. However, the poet (as the aesthetic subject) does not passively accept the image of nature, but observes nature with aesthetic eyes. At the same time, the poet also "breathed out" the vitality of nature with his own mind. Poet and nature, aesthetic subject and object are having a cordial conversation. You have me and I have you. The two-way interaction between subject and object is vividly summarized by "paying attention to the past and breathing in the heart" Here, nature is no longer an alien force other than human beings, but a humanized nature illuminated by human aesthetic consciousness, which embodies the objectification of human essential power. On the one hand, Liu Xie emphasized the emotional function of the poet's mind, but at the same time, he more clearly publicized the dynamic function of the aesthetic subject. When it comes to artistic communication and language expression, the dominant position of poets is even more important. It is this two-way interaction between aesthetic subject and object that has been sublimated. "Love is like a gift and happiness is like an answer", which further reveals the importance of aesthetic attitude in aesthetic creation activities. Similarly, in the face of natural "hunting", some can be excited, while others are indifferent; It is also popular, but the specific connotation is not the same. The key is whether you have this kind of "feeling", that is, the aesthetic attitude-the poet's cordial feelings about "looking for" nature. The above-mentioned "four orders come back, you are busy" is intrinsically related to this. The so-called "expensive leisure" is to get rid of the daily utilitarian state of mind and face the formal beauty presented to us by natural things with an aesthetic attitude; "Love is like a gift", that is to say, only by projecting this aesthetic attitude into nature can we get a "reward" from nature, that is, the aesthetic feeling of creation. Poet and nature, subject and object, what a congenial relationship!

Incidentally, the reason why Liu Xie attaches so much importance to the role of "Xing" is that "Xing" in his mind is not a passive feeling of a poet, but a subjective creative function caused by the feeling of finding a job. Xing is a supreme, wonderful and seamless emotional experience. "When wandering around the world, try to figure out the audio-visual area" is very creative. The aesthetic image bred by xing transcends time and space. "Hu is the liver and gallbladder" [1 1] has great generality, creating a "brand-new world." This "brand-new world", on the one hand, is connected with the essence of the object, on the other hand, it gives people a refreshing aesthetic feeling. The poet's heart was touched by the interview with nature, and at the same time it was formed actively with its creative power and the magic of words. In the poet's pen: "Everything that was once familiar to people has a look that people have never seen before." [12] The inspiration of the article "Seeking" lies precisely in the creative function of the aesthetic subject after feeling "seeking". In this way, Liu Xie's original intention is not abrupt.