Synopsis
Art appreciation is the discovery and realization of beauty, so where is the beauty? Beauty is in your own heart. The beauty created by painters and poets is the imagery created by their hearts, the unique spiritual realm, so what is the realm? The author analyzes to us, people contact with the world, due to different levels of relationship, there can be five realms: (1) to meet the physical needs of the material, and the utilitarian realm; (2) because of the crowd **** survival of the relationship of mutual love, and the ethical realm; (3) because of the combination of the crowd of the mutual control of the relationship of the political realm; (4) because of the research and study of the physical, and the pursuit of wisdom, and the academic realm; (5) because of the desire to go back to basics, and the meditative integration of the heavenly, and the religious realm. (5) The religious realm is due to the desire to return to the true nature and to harmonize with heaven and man. The utilitarian realm focuses on profit, the ethical realm focuses on love, the political realm focuses on power, the academic realm focuses on truth, and the religious realm focuses on God. But in the middle of the latter two, taking the concrete of the universe and life as the object, enjoying its color, order, rhythm and harmony, in order to see the reflection of the deepest heart of the self; transforming the real scene into an imaginary realm, creating images and symbols, and concretizing and incarnating the supreme heart of mankind, this is the "realm of art". This is the "art world". The main art world is the beauty.
So all the beauty of the light is from the source of the mind, there is no refraction of the mind is no beauty. So a piece of natural scenery is a realm of the mind. The mood is the crystallized product of love and scenery. Therefore, Chinese artists are not satisfied with the purely objective mechanical modeling, but always to reflect the object in the reflection of the noble tone of the personality. The stillness of illumination and the leap of life constitute the two elements of art. Thus, the creation of Chinese artistic mood, that is, must have Qu Yuan's lingering sentimental, but also must have Zhuangzi's open air. It is only when one is in love that one can penetrate into the core of everything, so to speak, "to get the center of the ring". The so-called "beyond the image of the outside". Color is emptiness, emptiness is color, color is not different from emptiness, emptiness is not different from color. This is not only the poetry of the Tang Dynasty, but also the painting of the Song and Yuan Dynasty. These two words, "to write with the brush of chasing light and tiptoeing shadow, and to write with the heart of heaven and earth," express the final ideal and the highest achievement of Chinese art. This is true of the poetry of the Tang and Song dynasties and the paintings of the Song and Yuan dynasties. The realm of the greatest works of art in China is rooted in an active, dynamic and rhythmic mind.
With this consistent view, the author guides us to appreciate Chinese poetry, painting, music, and, above all, Chinese calligraphy. The Chinese emotions of sorrow and joy can be expressed in calligraphy, as in poetry and music. No other people have been able to achieve this in their writing. The author believes that, writing the history of Western art, often take the Western era of architectural style changes to the string, the Chinese architectural style change is not big, can not be used to distinguish between the era of painting and sculpture style changes. Calligraphy, however, since the Yin Dynasty, the change of style is very significant, can replace the status of architecture in the history of Western art, with which to explore the characteristics of the art of each era.
2. Evaluation and Appreciation of Aesthetic WalksThe book Aesthetic Walks presents Mr. Zong's aesthetic ideas from different perspectives.
Four articles in the book directly address the issue of emptiness and reality, and Mr. Zong's appreciation of painting, calligraphy, and sculpture is also often involved. This article attempts to start from the exploration of the virtual and the real, and gradually go deeper and deeper, and gradually appreciate the connotation of Mr. Zong's aesthetic thought and character style.
Mr. Zong believes that the "real" is the image created by the artist, and the "virtual" is the imagination of the appreciator. Mr. Zong also pointed out that the question of the imaginary and the real is a "philosophical cosmological question".
On this issue, Confucianism and Taoism are differentiated, with LaoZhuang moving from the virtual to the real, and Confucius and Mencius moving from the real to the virtual, and pointing out that both Confucianism and Taoism believe that the universe is a combination of the virtual and the real, and that the two are therefore not in conflict with each other. Next, Mr. Zong quoted the Qing Dynasty's Gala Chongguang's words, "the real scene is clear and the empty scene appears", "the real world is forced and the divine world is born".
Isn't it true that Gala Chongguang's words are "from the real to the imaginary"? Is it possible that Mr. Zong believes that Confucian philosophy and aesthetic concepts are the source of traditional Chinese aesthetics? When I read Mr. Zong's sentence, "The Jin and Song people appreciated landscapes from the real to the imaginary, that is, the real to the imaginary, and transcended into the realm of the mysterious. Mr. Zong mentioned another set of concepts, "emptiness and fullness", in Aesthetic Walk.
"Emptiness and fullness" is not the same as "virtual and real". Emptiness and fullness are divisions from the point of view of artistic style or aesthetics.
Any work of art is both virtual and real, but not both ethereal and full. From the point of view of painting, pure blankness (empty) does not exist, but only in the scene of the reflection.
In this sense, the existence of the "virtual" is dependent on the "real". Therefore, there is no problem that "the real scene is clear and the empty scene appears".
A good painting is naturally a combination of the real and the imaginary rather than the purely imaginary or the purely real. Lao Zhuang from the virtual into the real, force in the virtual, intention in the real, by the spirit of the place and the birth of God's wonderful; Confucius and Mencius from the real into the virtual, force in the real, intention in the virtual, by the fullness of the reasoning and the realization of the God.
Therefore, the Lao Zhuang from the virtual into the real, refers to its aesthetic thought of ethereal; Confucius and Mencius from the real into the virtual, refers to its aesthetic thought of fullness. As for the "Jin and Song people to appreciate the landscape, from the real into the virtual", it should mean that the focus of aesthetics from the heavy real to the heavy virtual change, that is, from the heavy full to the heavy ethereal change.
Because of the cohesion and ambiguity of the language (though Mr. Zong's words), the two "from the real to the imaginary" should not be one and the same. Mr. Zong considers emptiness, reality, existence, and nothingness to be "the principles of all constitution.
"The interplay between the real and the imaginary" is a central part of Chinese aesthetic thought. What Mr. Zong appreciates is the "reciprocal interest" of "seeing the infinite in the finite, and the finite in the infinite", which corresponds to the three steps of artistic transmission: realism - transmitting the spirit - wonderful enlightenment.
Mr. Zong emphasized that painting is a "spiritual space", focusing more on emptiness, i.e., ethereal beauty. Mr. Zong emphasized that painting is a "spiritual space", focusing more on emptiness, i.e. the beauty of emptiness and spirit.
Mr. Zong believed that emptiness is "the most lively source of life", "the source of all things, the root of all things, the everlasting creativity." Blank space is the base of Chinese paintings, and the emptiness contains all things; blank space is integrated into all things, and is consistent with the "Tao" of all things.
Mr. Zong believes that "the emptiness in the realm of art is not true emptiness, but the 'fullness' that is obtained from it, and that there is a 'heart far away' approaching to the 'true meaning. '." Therefore, Mr. Zong believes that Chinese Song and Yuan landscape paintings are the most realistic works.
Not only painting, for the sculpture remains, there is no blank space in the sculpture, but the light and shadow of the fantasy collocation is a good reflection of the "virtual" expressive power.
The same is true for calligraphy. Mr. Zong believes that the image of calligraphy includes not only lines, but also blanks, which is really the empty spirit of the blanks, making "this piece of writing is the flow of life, a dance, a piece of music." What is "dance"? Mr. Zong believes that "dance" is the combination of the highest reason and the highest life.
"In this dance, the flow of order that is as rigorous as architecture becomes music, and the convergence of the vast and exuberant becomes rhythm." In Mr. Zong's view, the "dance" is the quintessence of all Chinese art, extending from the dance movements to "reveal the space of the spirit of emptiness" and "express the vividness of the fluttering rhythms".
"Dance" symbolizes the creation of the universe, crystallizing the "Tao" in the stillness of illumination, which also reflects the Chinese philosophy of "the Tao of indistinguishability from the weapon," "the body and the use of the body are not two," "the body and the use of the body are not two," and "the body and the use of the body are not two. This is also a reflection of the Chinese philosophy of "no distinction between the Tao and the instrument" and "no distinction between body and use". What is "Tao"? "One yin and one yang is called Tao."
("I Ching"), everything is born of yin and yang. According to Mr. Zong, in the change of yin and yang and the movement of everything, life is rhythmic life, and "vividness of qi" is the highest purpose of Chinese art.
"Mr. Yelang taught in class that chi chi is not only expressed in concrete objects, but also in the emptiness beyond the objects. In his book Aesthetic Walks, Mr. Zong often refers to "clarifying the mind and observing the Tao".
Dao is the soul of the universe, the source of life, and the essence of beauty, however, this "Dao" is not a solitary entity, nor is it a void that cannot be perceived. It is the essence of the aesthetic object, it is in the "art" of "Tengchuai Wanxiang", that is, Mr. Zong said, "see the popularity of the empty space, see the popularity of the empty space" of the aesthetic time and space. The first is the "Art", which is the aesthetic time that Mr. Zong said "to see the popularity in the emptiness and the emptiness in the popularity".
One source of emptiness, one source of reality, the body is not the same, the Taoist body of the virtual mystery of the implementation of the day with all the phases, the essence of beauty is presented in the world. "Observe the Tao", is to use the aesthetic vision, feeling, deep understanding of the object in the figurative soul, life, completion, highlighting an aesthetic object.
When I read Mr. Zong's "Aesthetic Walk", I felt the breath of life, the rhythm of life and the care of life. As mentioned above, both "Dance" and "Tao" are expressed as a kind of movement.
"This incessant yin and yang form a rhythmic life." Mr. Zong valued "emptiness" because it is what makes a work vibrant and gives it life.
"The vitality of the life essence is the source of all beauty, and therefore 'nature is always beautiful'." On the other hand, Mr. Zong's aesthetics shows care for life everywhere.
Mr. Zong has always insisted on "the art of life" and "the humanization of art". Mr. Zong emphasized that beauty comes from the heart ("all beauty comes from the source of the heart"), and pursued a "most free and abundant physical and mental self".
"The Jin people discovered nature outwardly, and discovered their own deep feelings inwardly, and the landscape was transformed into a spirit of emptiness, as well as a sense of emotion." Mr. Zong emphasized the "back and forth interest", and at the same time emphasized the "in the absence.
3. Aesthetics walk homework kneeling in the appreciation of traditional Chinese poetry is often used: ethereal,ethereal: the empty clear mind, holding all the realms, all the realms into the human life, stained with the human nature of the spirit of the people Ji Zhou said: "Beginning to learn the word for empty, empty is the aura to and fro." The aura is the time when the object presents the life of the soul, the time when the beauty is born.
Therefore, the cultivation of the sense of beauty lies in the ability to be empty, to create a distance from the object, so that they are not stained and not stagnant, and the object can be isolated and insulated, and become a realm of its own: the curtains of the stage, the frames of the paintings, the stone pedestals of the statues, the steps of the building, the railing, the rhythm of the poems, the rhythm of the rhyme, the landscape viewed from the window, the lighted marketplace under the darkness of the night, and the small scene under the bright moon are all the beauties that have been born under the conditions of distance and intervalization. Li Fang Shu lyrics "Yu Beauty" over beat cloud: "Good wind like a fan rain like a curtain, when I see the shore flowers and grass rising marks added."
Li Shangyin's words: "Painted eaves and hairpin willows are as blue as the city, and in a curtain of wind and rain, over the Qingming Festival." Wind and rain is also a good condition to cause spacing, a piece of smoky landscape is a poetic situation, is a painting.
Spiritual indifference is the basic condition of artistic etherealization. Tao Yuanming's love of the "plain hearted man" refers to this realm.
His poem "Drinking wine" can show the poet's state of mind in this regard: "Hut in the people's realm, without the noise of cars and horses. I ask you how can I, the heart far from the ground.
Picking chrysanthemums under the East Fence, leisurely see the South Mountain. The mountain air is good day and night, and the birds fly together and return.
There is a true meaning here, which I want to recognize and forget to say."
Fulfillment: grandeur, composure, and fullness of content After discussing the ethereal nature of words, Zhou advocated: "Seek reality, and if you are realistic, you will be full of energy. Full of energy is able to give a unique deep, meditative hair delusion, although the narrative is bland, facsimile painting shallow, but all the feelings of the horizontal collection, five in the master, read its piece of people, the abyss peeping fish, meaning for the bream, the night shocked the electricity, do not know something, the child with the mother crying and laughing, the townspeople edge drama joy and anger.
"This really describes how a content-rich creation moves us. Sikongtu describes the spirit of this magnificent art by saying: "The winds of the sky are turbulent, the mountains of the sea are pale.
The true power is full, and all images are beside it." "Returning to the void into the muddy, accumulating robustness into majesty."
"Anger is far away from the dead. Wonderful creation of nature, who is going to be the judge."
"There is a true ruler, with which to float and sink." "Gulp the great wilderness, by the Tao to counter the gas."
"With the Tao appropriate to go, hand into spring." "Walking God as empty, walking qi as rainbow!" The artist is full of energy, the weather is great, and the creation of art follows the creation of the true master.
3. Context: the crystallization of "feelings" and "scenery" (imagery) Wang Anshi has a poem: "The willow is green and dark, and the lotus is red and sound at sunset.
Thirty-six pei of spring water, white heads meet in the south of the river." The first three lines are all about scenery.
Jiangnan's beautiful spring, but with the last sentence, all the scene then covered, ah, penetrate into, a layer of boundless melancholy, memories of the sadness, and reunion of comfort. The scene is intertwined, into a beautiful "poem".
Yuan Ma Dongli has a "Tianjingsha" small order: "withered vines, old trees and crows, small bridges and flowing rivers, the old road, the west wind and thin horses, the setting sun - the broken hearted people at the end of the world! Also is the first four lines completely write the scene, with the end of the sentence to write love, the whole piece into a piece of sadness and loneliness, the universe is cold, complete the boundless poetry.
Wind and Bone: Classical Chinese aesthetic theory attaches importance to both thought - manifested as "bone", and emotion - manifested as "wind" Liu勰 said: "怊怅述情, must be the beginning of the wind; Shen呤铺辞, not preceded by the bone. Bones. ...'The end of the words straight, the bones of the text into, the intention of the gas cool, then the wind of the text is born,'" Wenxin Diao Long - bones of the wind.
For the understanding of "bones", now there is a lot of debate in the academic community "bones" is just a word (paving rhetoric) of the problem? I think that "bones" and words are related. But words have conceptual content.
When the word is clear, the image of reality it represents or the idea of the image is also clear. "The end of a word is straight" means that a sentence should be understood and correct, not distorted or sophomoric.
This correct expression gives rise to the bones of the text.
This correct expression creates the bones of the text, but it is not enough to have the "bones", it must also go from logic to artistry, in order to move people.
So "bone" outside the "wind". The "wind" can move people, "wind" is from the emotion.
5. weather: refers to the poetry, calligraphy and painting of the rhyme and style of Tang Han Yu "recommending the Shi" poem: "Jian'an can be seven, eminent changes in the wind gymnastics, curved against the Jin and Song, the weather day withered.
" Song Qin Guan "Shi Zhou Li Si": "Today's Han monument in all the official characters, and Cheng Miao this post is a lowercase, view its weather, do not dare to try to believe that the Qin people book?" Yuan Yelu Chu Cai, "Gift of Minzhi of Zhang Bachelor of the South Quality", No. 7: "The weather of the article is hard to describe, and the dragon soars and the phoenix swims in the fall sky." Ming Ye Xianzu "luan lancet record - persuade Shi": "This poem is quite the weather of the Pavilion, not like the mountain wild people.
" Qing Liu Polaris "gift to the doctor Min Gong biography": "Between the finger small paintings, kozo ink Longling, weather fly, people more treasure and hide." Above, I hope you are helpful.
4. From the aesthetic point of view to analyze the inside, out of its1 into its inside, out of its ------- Zong Baihua "walk" in the gesture of life Zhu Guangqian body there is a very admirable spirit, that is, he is in his old age, can not run, every morning, but also in front of their own home under the tree to make a kind of running posture. a kind of running posture.
"Running" is certainly full of vitality, the beauty of movement, but "walking" is more leisurely and unrestrained. This reflects the different attitudes and postures of the two great masters in the history of modern Chinese aesthetics.
From the aesthetic system, Zhu Guangqian's aesthetics is Western, modern, theoretical, while Zong Baihua's aesthetics is Chinese, classical, lyrical. It can be said that it is the pen of the spirit of nature, the book of the heart.
So Mr. Zong wrote very little in his life, only thirty essays on aesthetics, and the twenty-two essays collected in this book, Walking in Aesthetics, were written by him over sixty years. When Lu Buwei ordered his disciples to write "Lu's Spring and Autumn Annals", on the day the book was completed, the accumulation of gold, widely recruited the world's scribes to pick its faults, pick out a word of the reward of a thousand gold, so it can be said to be a word for a thousand gold.
But for Mr. Zong's book "Aesthetic Walk" I think "a word of gold" is too utilitarian, and word for word more in line with Mr. temperament. Therefore, I think that such a rare masterpiece we should not use to read, but should be supplies.
Mr. Zong is a poet, a classical romantic poet. He has a classical literati "empty pool of spring, the ancient mirror shine God" artistic mind and "falling flowers without words, people fade without chrysanthemum" artistic personality.
His "empty and clear mind, holding all mirrors, and all realms intrude into human life, coloring the human spirit". Even in his academic writings, he played it to the extreme.
(This is just as Tang Junyi said, "Westerners look at art from the perspective of science, and Chinese people look at science from the perspective of art"). Wang Guowei's "Words on Earth" says that "the red apricot branches of spring is lively," and a 'lively' word, and the realm of the whole".
And Mr. Zong proposed the word "walk", the true "state of mind" of the life of its governance. In the leisurely walk of life, everything about the beauty of the past and present, the beauty of the soul of the eyes, and then like a fine stream between the pines, gurgling out, stained with the author's spirit.
The biggest difference between A Walk in Aesthetics and other aesthetics works is its poetic language and the author's true nature in the end of the flow. The following are a few examples.
In "the birth of the Chinese art world", Mr. Zong said about the difference between Chinese and Western artistic spirit, "Greek mythology, Narcissus God in the water since the identification, fond of their own immortal posture, infinite lovesickness, emaciation to death, China's orchids born in the valley, the reflection of self-reflections, lonely fragrance, although the feeling of emptiness, but there is a smile of the spring breeze accompanied by a breath of air, the universe is closely related to the Yue Bonnie wind God, leisurely self-sufficiency. I am happy and happy, and I am happy and happy. What kind of concise and evocative language is this? What kind of high and extreme mood? And in the "briefly discuss the meaning and value of Dunhuang art," said: "rich murals and their sublime realm is really like a dream, such as a bubble, from the decline of the national mind faded away.
Support for the painter's art is the remaining water, flowers and leaves. Although the beauty of the clear super but lack of majestic ambition.
God bless China! Dunhuang caves in the western frontier actually saved the thousand years of brilliant shadow for us. My art history can be rewritten!" Please note that the author has always been calm and indifferent to the author even used two exclamation points here, which can be seen in the degree of joy.
This reminds me of Yu Qiuyu's cry and indignation in Daosi Pagoda . The same Chinese literati, they are due to the rise and fall of the motherland's culture, either happy or sad.
And in "On the New Story of the World and the Beauty of the Jin People," when talking about the martyrdom of the Jin people, he says, "Cao Cao, who has taken it upon himself to uphold ethics, killed Kong Rong in vain, slaughtered his daughter as young as eight years old, and his son as young as nine years old, and who was really 'treacherous and unjust'?" Here, perhaps we should think of Zong Baihua less as an aesthete and more as a Chinese man of letters with a national ethos. Wang Guowei, in his "Words on Earth," said, "The poet must be in and out of the universe and life.
Into the gas inside so that you can write, out of the outside so that you can see. The poet's view of the universe and life is that he must be able to write about it and watch it.
And Mr. Zong Baihua in the "walk in aesthetics" in the point out of the four words of "leaning back and forth from the" more seemingly idle, high-minded. He said, "Chinese poets and painters do appreciate the universe in the spirit of 'self-compassionate tilting'", and "'self-compassionate tilting' is the rhythmic and musical Chinese view of the universe". Chinese view of the universe".
And this kind of cosmic outlook can be seen in one or two of Mr. Zong's small poems of flowing clouds: At one time, I felt that my body was a small star, glittering in the stars, along with the star flow. I feel that my heart is a mirror, and the universe is full of stars, and I feel that my heart is a mirror, and the universe is full of stars, and I feel that my heart is a mirror, and the universe is full of stars.
Mr. Zong Baihua has presented us with a beautiful world of art, life, and the universe with this mindset of embracing the universe and taking a "walk". But this does not mean that the whole book Walking in Aesthetics is as aimless and uninformed as a walk, it always runs through one of Mr. Hua's aesthetic concepts - all the arts are based on the architecture as the artisan, and the music as the reference.
He said, "The order and structure of music and architecture, in particular, can directly reveal the harmony and rhythm within the universe. Therefore, all art tends to the state of music, the architectural artifacts."
Zong Bing, "playing the zither and moving exercises, want to make the mountains all sound", dance is to make "tight as the order of the building flow for the music", even the Germans also said that "the building is frozen music! Even the Germans said that "architecture is frozen music". Art performs the creation of the universe.
How many people in the past and present can see the universe and life so thoroughly? How many people can take a "walk" as their life posture? Yu Qiuyu said, "Let life be purified, let life be full of flavor", I think this purification should be sought from the "aesthetic walk", this flavor should be tasted from Mr. Zong Baihua "walk" in the footprints. From this, I thought of Wang Zengqi's "precepts", Mingzi monk nunnery door has a couplet: "big belly can tolerate the world's intolerable things, open smile laugh at the world's ridiculous people".
This is the realm of life we seek. A book of "aesthetics" walk tasting, you will find: we ordinary people look at books, paintings, sculpture, architecture, and even music, the understanding of what we see is only a negative of only the form, and Mr. Zong Baihua and his "aesthetics walk" is the artist who rinses the photo, so a colorful photo is presented in front of our eyes 2 into the inside of the outside of it ------ gossip about Wang Guowei's earthly lyrics "All words of scenery are words of love", almost every time I take a middle school language class, I can hear the teacher quoting such words in the classroom commenting on the mood of the poems and prose.
"Ancient and modern.