001. Emotion is the basis of aesthetic psychological activities, but the expression of emotion must be creatively conceived to form the fusion of emotion and scene, the fusion of image and image, in order to be sublimated to a new aesthetic realm.
Therefore, aesthetic psychological activities are the center of people's aesthetic observation and aesthetic creation of all things.
002. The aesthetic psychology of the Wei, Jin, Southern and Northern Dynasties is revealed through its specific philosophical and aesthetic categories.
The most basic of them are the Xujing theory, the Shensi theory and the Ganxing theory. The former is a discussion of the basic characteristics of aesthetics and creative psychology, and the latter two are the study of artistic imagination and inspiration. These three Questions and categories were organically combined to form a complete system of aesthetic psychology in the Wei, Jin, Southern and Northern Dynasties.
003. The value of Tao Jun’s literary thoughts lies in emptiness and tranquility, which is the theory of emptiness and tranquility in aesthetic creation.
The so-called quietness originally refers to a kind of spiritual concentration, simple and pure subjective attitude that people hold when they feel and understand objective things and their inherent laws. In the field of aesthetics, it mainly refers to the people’s aesthetic attitude when observing. A state of mind that is super utilitarian and intuitive.
The Theory of Xujing marked the Six Dynasties people’s grasp of the special laws of aesthetics, and was the basic category of aesthetic psychology at that time.
004. The theory of Xu Jing was first developed from the Taoists of the Pre-Qin Dynasty.
Lao and Zhuang regarded Tao as the highest category of all things. It is uncreated, simple and unpretentious. Therefore, if people want to obtain Tao, they must maintain a quiet subjective attitude.
Laozi understands that the most important thing is to settle down and live in peace, and to value softness and guard women. His theory of emptiness and tranquility also has a strong color of contemplation.
Zhuangzi’s theory of emptiness and tranquility requires the abandonment of all selfish thoughts, a tacit understanding of the Tao, transcending things and myself, and achieving a state of spiritual freedom. This is truly aesthetically significant.
When Guo Xiang annotated "Simple, but no one in the world can compete with it for beauty", he said, "The only thing that matches heaven's beauty is simplicity." , the origin of all things.”
They all believe that a simple and pure human heart can reach the highest aesthetic realm.
In Lao Zhuang's view, once a person's simple heart is hindered by desire, it is like a mirror covered with dirt, and it will lose its ability to discern objects.
005. Zhuangzi emphasized that the perception and grasp of external objects must maintain the purity of the subject and abandon rationality and desire. This is precisely the unique point where aesthetic activities are different from cognitive and practical activities.
Aesthetic activities are generated in social practice and continue to evolve with people's deepening of understanding of nature and society and the development of practice. From this point of view, it has profound social utility.
But when it is independent from actual utilitarian activities and becomes a subjective activity for human beings to grasp and treat the objective world, it is beyond utilitarianism.
People can only talk about aesthetics when they get rid of specific utilitarianism.
Only when rational understanding and utilitarian purposes are accumulated in the form of aesthetic freedom and consciousness can it play its due role in rational restraint and moral sublimation.
Zhuangzi’s aesthetics takes ultra-utilitarianism as the basic requirement of aesthetics.
006. During the Wei, Jin, Southern and Northern Dynasties, Lao-Zhuang’s philosophy of Xu Jing was introduced into aesthetic theory. Zong Bing of the Southern Dynasties believed in "Preface to Painting Landscapes" that to observe the way of landscapes silently, one must calm one's mind.
It is recorded in "Shishuoxinyu Qiaoyi Chapter" that Yu Daoji believed that the reason why Dai Kui's paintings lacked the inner gods of the characters was because the author had unfinished feelings, which blinded his aesthetic sense.
Cai Yong, a great calligrapher in the late Eastern Han Dynasty, believed in "Bi Lun" that pure mood and Xiao Jing are the key to engaging in calligraphy creation.
Wang Xizhi, a famous calligrapher in the Eastern Jin Dynasty, inherited this idea and pointed out that at the beginning of calligraphy creation, one should concentrate and meditate in front of the pen, and then indulge oneself, express freely, and achieve natural charm.
When Ji Kang talked about the playing of the qin in "Qin Fu", "The instrument is cold and the strings are tuned, the mind is leisurely and the hands are quick, the touch is like the will, and only the intention is imagined", that is, the mind is quiet and pure. , can you achieve a state of perfection when playing.
007. In the field of literature, the theory of Xu Jing is mainly represented by the creative theories of Lu Ji and Liu Xie. They absorbed and transformed some propositions of the theory of Xu Jing in the pre-Qin Dynasty and created their own theory of Xu Jing. .
First of all, they believe that tranquility is just the mental state that one should have before creating.
Xujing does not advocate ignorance and desirelessness, but rather the accumulation of knowledge and cultural accomplishments mastered in the past into a peaceful state of mind before creation. Lu Ji regarded "Yi Qing Zhi and Dian Tomb", that is, studying and understanding classics, as a rest preparation before creation. At the beginning of creation, one must concentrate on observing all things and tacitly comprehend spiritual enlightenment. This is similar to Lao Zhuang's Xu Jing said, The absolute exclusion of learning is different.
Liu Xie also gave a profound explanation of the writer's academic talent and the concept of emptiness and tranquility in the creative process in "The Literary Mind and the Diaolong·Shensi Chapter". He highly praised the writer's cultural knowledge and cultivation for literature. The guiding role of creation is emphasized in the "Zong Jing", "Zheng Sheng", "Shi Lei", and "Talent" and other chapters. The importance of knowledge for writers to develop their careers, expand their minds, and improve their creative skills.
008. Lu Ji and Liu Xie also believe that silence is for better aesthetic feeling and aesthetic expression. Only when a writer is single-minded and free from external interference can he capture and express the beauty of objects and form novel and outstanding works. artistic conception.
Before a writer observes all things and prepares literary thoughts, he must calm his mind to understand the inherent characteristics of things, capture and express these characteristics. Liu Xie made this point more clear in "The Literary Mind and the Diaolong·Wise Pian". He believed that natural scenery has a certain shape, but the writer's aesthetic feeling is not fixed, and there are differences in skill and skill, and the "Book of Songs" and "Chu" The famous descriptions of natural scenery in "Ci" are difficult for future generations to surpass. If later authors want to surpass their predecessors without falling into the trap, they can only choose new angles.
To achieve this, the key is that when writers are inspired by things and express their emotions, their hearts should be quiet and relaxed, and they can meet naturally.
Later, Su Shi said in his poem "Sending Shen Liao Shi" that "To make the poem wonderful, it is necessary to be empty and still. Quietness makes the crowd move, and emptiness makes it possible to accept all the surroundings." He also expressed his inner feelings. Empty, bright and clear, introspective and materialized, are regarded as the subjective conditions for the production of the witty words of poetry.
009. From the perspective of the development stage of creative conception, the rise of a writer's creative passion and the emergence of inspiration phenomena must also be realized in the writer's quiet mental state.
Quietness is the necessary preparation and accumulation stage before the writer's inspiration arises.
Wang Bi said, "Everything starts from emptiness, and movement starts from stillness." Lu Ji's "Wen Fu" pointed out that when writers are creating ideas, they often encounter situations where their words are not satisfactory, or they are confused. Uneasy, in this case, the writer must keep his heart quiet and wait for the natural emergence of good sentences.
Liu Xie pointed out in "Shensi Chapter" that when a writer expresses his meaning through words, complex situations will appear as the literary thoughts begin and close. "My thoughts are separated by mountains and rivers." Faced with this situation, writers should not be stubborn, but should wait quietly for the emergence of emotion.
010. The Theory of Xujing is a theory that explores the basic characteristics of aesthetic psychology in the aesthetic psychology of the Wei, Jin, Southern and Northern Dynasties. It is the basis for other categories of aesthetic psychology.