In the modern aesthetic history of China, there are two figures of Taishan Beidou style, Zhu Guangqian and Zong Baihua. They are similar in age and contemporaries. They are proficient in Chinese and Western cultures and have high attainments, but Zhu Guangqian writes a lot and Zong Baihua seldom writes. Zhu Guangqian's articles and way of thinking are inferential, while Zong Baihua is lyrical. Zhu Guangqian is partial to literature, while Zong Baihua is partial to art; Zhu Guangqian is more modern, western and scientific; Zong Baihua is more classical, more China and more artistic; Zhu Guangqian is a scholar and Zong Baihua is a poet. This book is the first collection and publication of Zong Baihua's aesthetic papers. Zong Baihua is a new generation of scholars who rushed out from the May 4th New Culture Wave. He studied in Europe in his early years and set foot in Paris, the capital of art. He published a book of poems in the 1920s. He was originally a poet. In his youth, his admiration and praise for the vitality of life and his meditation on the philosophy of life in the universe always accompanied him forward, which also constituted the characteristics of his aesthetic chapter. The articles in this collection were written in 1920 at the earliest and 1979 at the latest. It is really a more detailed collection of works about art in Zong Baihua's life.
He didn't build any aesthetic system, but taught us how to appreciate artistic works and how to establish aesthetic attitude until we formed artistic personality. This is the spirit of China's artistic beauty. Zong Baihua once sat in silence for an hour in front of the original Mona Lisa. He often visits various art exhibitions in China with great interest, and even though he is old, he still takes pains. He is a connoisseur. These articles in the collection have quite accurately grasped what belongs to the essence of art, especially the characteristics of China's art.
Therefore, reading this book itself is an artistic enjoyment. The author uses lyrical language to guide us to appreciate art. This book is called Aesthetic Walking. Let's take a walk in this big garden and see what pavilions, flowers, trees and stones the author has built for us.
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Art appreciation is the discovery and perception of beauty, so where is beauty? Beauty lies in our own psychology. The beauty created by painters and poets is their inner image and unique soul. So what is artistic conception? According to the author's analysis, there are five levels of contact between man and the world due to different levels of relationship: (1) there is a utilitarian level to meet physiological material needs; (2) Because people love each other, there is an ethical realm; (3) There is a political realm because of the mutual influence of the crowd combination; (4) Because of studying physics and pursuing wisdom, there is an academic realm; (5) there is a religious realm because of the desire to return to nature and the unity of man and nature. The utilitarian realm is dominated by benefit, the ethical realm is dominated by emotion, the political realm is dominated by power, the academic realm is dominated by reason, and the religious realm is dominated by god. But in the middle of the latter two, take the specific life of the universe as the object, enjoy its hue, order, rhythm and harmony, and thus get a glimpse of the deepest reflection of yourself; Turning a real scene into a virtual scene, creating an image as a symbol, and concretizing and physicalizing the highest human mind is the "artistic realm". The artistic realm is dominated by beauty.
So all beautiful light comes from the source of the soul, and there is no beauty without the refraction of the soul. Therefore, the natural landscape is a spiritual realm. Artistic conception is the crystallization of emotion and scenery. Therefore, China artists are not satisfied with purely objective mechanical modeling, but always reflect the noble style of individuality in their reflections on objects. A quiet and lively life constitutes two major elements of art. Therefore, the creation of Zhong Guo's artistic conception needs Qu Yuan's lingering side and Zhuangzi's transcendence. Only by touching the fence can we go deep into the core of everything, so-called "entering the circle." Superethereal, it can be a flower in the mirror, a moon in the water, a gazelle hanging in the corner, and there is no trace to be found. The so-called "super image". Color is empty, empty is color, color is the same, empty is the same. This is not only the poetic scene in the prosperous Tang Dynasty, but also the painting scene in the Song and Yuan Dynasties. These two sentences express the ultimate ideal and highest achievement of China's art, that is, "chasing the light and painting the shadows, and writing the sky with all my heart". Poetry in Tang and Song Dynasties and paintings in Song and Yuan Dynasties are all the same. The field of China's greatest works of art is rooted in an active, dynamic and rhythmic mind.
The author uses his consistent viewpoint to guide us to appreciate China's poems, paintings and music, especially China's calligraphy. Just like poetry and music, the sorrows and joys of China people can be expressed by calligraphy. No other country writes in this way. The author thinks that writing the history of western art is often based on the architectural style changes of various western times, while the architectural style of China has not changed much, so it cannot be used to distinguish the changes of painting and sculpture styles of various times. However, since Yin Dynasty, the style of calligraphy has changed significantly, which can replace the position of architecture in the history of western art and spy out the characteristics of art in different times.
For example, the calligraphy in Wei and Jin Dynasties, represented by Wang Xizhi and his son, is the concrete embodiment of the simple and elegant philosophical beauty of Wei and Jin people. Art appreciation is to form artistic personality, and the beauty of personality in Wei and Jin Dynasties is the most wonderful and moving chapter in China's art history, which distinguishes it from other nationalities and shows China's artistic spirit. Before this era, ideas were fixed on statues, and art was too simple; After this era, the thought is dominated by the confluence of Confucianism, Buddhism and Taoism, and art is too mature. Only these hundreds of years will be the great liberation of spirit and the great freedom of personality and thought. The beauty of Jin people is the highest peak of this whole era.
Jin people discovered the beauty of mountains and rivers, and Wang Xizhi said, "Go up the mountain path like a mirror." They are chic and don't stick to things. But for the exploration of philosophy, it is infatuated. Wang Rong said that "the bell of love is in our generation", and Gu Kaizhi's paintings are unique, only idiots exist, and idiots are especially out of reach. Jin people discover nature externally and deep feelings internally. Landscape is ethereal and emotional. Tao Yuanming and Xie Lingyun's landscape poems are very good, because they have a fresh interest in nature. They are enjoying nature with their hearts.
The beauty of Jin people lies in its charm. The charm can be said to be "far away from things", and it does not stick to the free spirit of things, such as returning from watching the flood and waving three strings. This is a kind of spiritual beauty, which can be carved into a calm and fearless spirit when expanded. The most beautiful is the most powerful. Wang Xizhi's calligrapher said that words are powerful and easy to escape, such as dragons jumping into the sky and tigers lying in the phoenix. The triumph of flying water is rooted in Xie Anmei's character and demeanor. Liu Kun, Zu Di and Zhou Chu, who are ready to die, are all vigorous figures who have lived for thousands of years. This era is the most lively, lively and beautiful in the history of China, and its wonderful achievements are extremely high. This is an aesthetic attitude towards life, which is also manifested in the following two points: first, play with the present and seek extreme richness and enrichment in the present moment; Second, the value of beauty lies in the process itself, not in the external purpose and the so-called "inaction" attitude. For example, when the prince offered a snowy night, he suddenly remembered Dai 'an Road, that is, he took a boat and went back to the door after staying. People replied, "I came on a whim, but I came back after being excited." Why should I wear it? " Zong Baihua believes that this interest in the life process itself rather than the persistence in the purpose shows the typical aesthetic life of Jin people.
In this book, Zong Baihua, with his lyrical brushwork and love for beauty, leads readers to appreciate the hearts of great artists in China and the West, as well as those romantic and chic Jin people. When we came back from a walk, we found that our hearts were sublimated and purified.
There are three aestheticians in China: Zhu Guangqian, Zong Baihua and Li Zehou.
Zhu Guangqian's book is simple and meaningful. I like one of his poems, which can be used as an introduction to aesthetics.
Li Zehou's book is actually empty. A beautiful course only establishes a set of terms with "historical accumulation" as the core, so don't watch it.
Dear Zong Baihua and his short story Aesthetic Walking. I thought to myself that Zong Baihua was the oldest of the three, charming and fragrant. He is described as "Gao Huai in the same month, with elegant spring breeze". (Quli cigarette)