Before this era-Han dynasty-it was too simple in art and mainly Confucianism in thought; After this era-the Tang Dynasty-it was too mature in art and dominated by Confucianism, Buddhism and Taoism in thought. Only these few hundred years have been a great liberation in spirit, a great freedom in thought and a great thinking in personality. Beauty and ugliness, nobility and cruelty, holiness and devil in human hearts have also been brought into full play. This is also the second philosophical era after the philosophers of China, Zhou and Qin. Some philosophical geniuses of Buddhist master Zhuo Chao were also born in this era.
This is the most tragic romance in China's life history. The Rebellion of Eight Kings, the Rebellion of Five Kings, and the split of the Northern and Southern Dynasties led to the collapse of social order, the total collapse of old ethics, the freedom of thought and belief, and the explosion of artistic creativity, which reminded us of the "Renaissance" in Western Europe in the16th century. This is an era of intense, contradictory, enthusiastic and colorful life.
However, the beauty of western Renaissance art (architecture, painting and sculpture) is gloomy, luxurious and magnificent. Wei Jin people tend to be simple, mysterious and detached, and Jin people's calligraphy is the most concrete manifestation of this beauty.
The beauty of this golden man is the highest peak of this whole era. The secretary of Shi Shuo Xin Yu described it vividly. He can describe its mental outlook, the characters, the colors and breath of the times with concise pen and ink. The simplicity and mystery of words are particularly vivid. The writer was born in the late Jin Dynasty, and the annotator Liu Ye was human. At that time, the charm of Jin people still existed, and the content described, at least in spiritual transmission, was not far from the facts (Tang Xiujin's book was also based on this).
To study China people's aesthetic feeling and artistic spirit, Shi Shuo Xin Yu contains many important materials and inspirations, which can't be ignored. Today, I will briefly talk about my personal reading notes for readers' reference, but the detailed system will be developed later.
(1) The naturalism and individualism in Wei and Jin Dynasties freed themselves from the shackles of etiquette and law under the rule of Confucianism in Han Dynasty: politically, it was first manifested in Cao Cao's super-moral view of employing people. Most intellectuals transcend the concept of etiquette and law, appreciate the beauty of personality directly and respect the value of personality. Constant temperature asked Yin Hao, "What are you like me?" Yin replied, "I've been dealing with me for a long time. It's better to be me!" " This discovery and affirmation of self-worth has existed in the West since the Renaissance. Shi Shuo Xin Yu: Volume VI, Volume VII, Volume VIII, Volume IX and Volume X, Rong Zhi, all appreciate and describe the beauty of personality. Aesthetics, the so-called "algae flavor" is the object of "characters". China's aesthetics is actually based on the aesthetics of "people and things". The concept, category and adjectives of beauty originated from the appreciation of personality beauty. "A gentleman is better than jade", China people's love for personality beauty originated very early, and the style of tasting algae words has prevailed in the late Han Dynasty. It reached its peak in the era of Shi Shuo Xin Yu (Shi Shuo contained "Wen Tai is really a second-rate river crossing. Celebrities say that people are the first to bear the brunt, and the temperature is often eclipsed. " In other words, this shows the social power of human goods algae at that time.
China's masterpieces of art and literary criticism, Sheikh's paintings, Yuan Ang's and Yu Jianwu's paintings, Zhong Pei's poems and Liu Xie's The Carving of Dragons are all produced in the air of these vivid characters. Later, Si Kongtu's Twenty-four Pins in the Tang Dynasty was a masterpiece of Chinese aesthetic consciousness.
(2) The beauty of landscape and the discovery of the artistic soul of Jin people. Shi Shuo contains Gu Kaizhi, a painter from the Eastern Jin Dynasty, who will come back from Ji Ji. People ask about the beauty of mountains and rivers. As the old saying goes, "A thousand rocks compete for beauty, while ten thousand valleys compete for flow, and plants are caged on them. If the cloud is prosperous, Xia Wei will be prosperous. " Aren't these words a wonderful portrayal of the landscape paintings of Jing (Hao), Guan (Tong), Dong (Yuan) and Ju (Ran) in the Northern Song Dynasty in the Five Dynasties? The artistic conception of China's great landscape painting has been included in the discovery of natural beauty by Jin people! When entering China Garden in Shi Shuo, Gu said, "You don't have to stay away from your heart. If you are surrounded by forests and waters, you will have your own ideas. Birds, beasts, birds and fish all come to find their loved ones. " Isn't this another small landscape of Yuan people, the picturesque scenery of Huang Dachi, Qian Shunju and Wang Ruoshui? The essence of China Nanzong School of Painting is to show a natural and unrestrained mind, which is also the charm of Jin people. People in Jin and Song Dynasties advocated mountains and rivers, from reality to emptiness, that is, from reality to emptiness, surpassing the metaphysical realm. Zong Bingyun, a painter at that time, said: "Mountain water is interesting." Tao Yuanming's "Picking chrysanthemums under the hedge, leisurely seeing Nanshan", "There is a real meaning in it, I have forgotten what I want to say" and Xie Lingyun's "Rising without a clue, the empty boat has passed"; And Yuan Yanbo's "Jiangshan Liaoluo, there is a trend of Wan Li." And Xie Taifu * * * climbed the smelting city, and Xie thought far-sighted, aiming high. Lang Dengbei of Xunzhong looked at Haiyun: "Although I didn't see the three mountains, it made people feel the meaning of Lingyun." During the Jin and Song Dynasties, people enjoyed nature and had the lofty interest of "returning from watching the flood and waving five strings". This makes China's landscape painting a kind of "landscape in artistic conception" from the beginning. Zong Bing's landscape painting hangs in the room, facing the cloud: "Father exercises to make all the mountains ring." Guo Jingchun has a poem saying: "There are no static trees in the forest, and there is no stopping flow in the river." Ruan Fu commented that "it is really bleak and desolate. Every time I read this article, I feel that God is out of shape. " This profound philosophical meaning was deeply reflected in people's aesthetic feelings and natural appreciation at that time. Jin people understand nature with ethereal and metaphysical meaning, but they can be clear; Establish the highest crystal clear artistic conception of beauty! In Si Kongtu's poems, the artistic mind was described as "an empty pool writes about spring scenery, and an ancient mirror shines on immortals".
Wang Xizhi said: "Walking up the mountain road is like swimming in a mirror!"
The bright mood makes the mountains and rivers reflect on the bright and clean body!
Wang Sizhou (spiritual practice) went to Athena Chu, Xing Wu, and sighed: "It not only makes people feel clean, but also feels the sun and the moon are bright!"
Sima Taifu (Daozi) sat in the middle of the night, Tian Yue was bright and clean, and there was no fiber. The teacher sighed. Xie Zhongjing sat there and replied, "This means it has no Wei Yun decoration." Taichuan thanked him for the play and said, "Your intention is not pure, but you want me to be too dirty to clean up my sins?"
Only in this way can China's noble spirit of loving nature produce Ni Yunlin's style of "washing away the dust and leaving me alone", "sneaking around with the sky" and "riding the clouds and the wind, swimming on the dust surface" in the evolution of landscape painting, and create a beautiful and clear landscape spirit that is deep like the universe. It is worth noting that Jin people's ideal of beauty is to pursue bright, fresh and clean images. They admire the adjectives of personality beauty, such as "like a willow in spring", "Xuan Xuan is like a morning glow", "cool breeze and bright moon", "Yushan", "Yushu", "Leike Quanying" and "bright and clear", which are all vivid images. Even after Yin Zhong's death, Yin Zhongwen called him "not enlightened enough to reflect the underworld". Describe nature, such as: "Clear dew and morning flow, new tung is introduced at the beginning." The description of the building is like this: "From a distance, the mountains are stacked, and the Danlou is like a sunset." Isn't Zhuangzi's ideal personality the source of Jin's beautiful image, that is, "She shoots a fairy, is graceful as a virgin, and her skin is like ice and snow"? Huan Wen praised Shang for "standing under the window playing the pipa, so he has his own dream". The real person in the sky is the ideal personality and beauty of Jin people.
Jin people are smart and don't indulge in things. This beautiful and free mind has found an art that is most suitable for expressing itself. This is a cursive script in calligraphy. The cursive art is purely a magical machine, and there is no way to do it. It all depends on the ease of painting when writing, the interest of each stroke, from beginning to end, in one go, like a free March. Another example is the will of the skilled, and God's actions are futile. This wonderful art can only complement each other and reach its peak if the Jin people's little three are detached. The characteristic of calligraphy in Wei and Jin dynasties is that it can show the true state of each word. Everything in Zhong You is different, and Xi's words are different. "Jin people knot words with reason, and they want reason without overstepping the rules." In the Tang Dynasty, Zhang Huaiguan commented on Wang Xianzhi's "On Books and Clouds": "The law of respecting children is neither grass nor action, and flowing is grass; Being in it, you don't need to follow the rules, and the constraint rules are better, which is quite natural and simple. Love is vertical, transcendent, excellent, adaptable to the situation, adaptable to the situation. When it is popular, the rain will disperse, and it will bloom when it is moved. The brushwork is the most romantic! Shao Yi grasped the importance of truth, and Amethyst promoted grass rights. Father God and son God are unique in ancient and modern times. "His passage not only conveys the true meaning of cursive art, but also describes the free and chic artistic personality of Jin people to the fullest. China's unique artistic calligraphy is the soul of China's painting art, which originated from the charm of Jin people. Metaphysics in Wei and Jin Dynasties enabled Jin people to achieve unprecedented spiritual liberation, and their calligraphy was the most concrete and appropriate artistic expression of this free spiritual personality. This abstract musical art can express the ethereal metaphysical spirit and individualistic self-value of Jin people. Ouyang Yunxiu: "I like to see the remains of pen and ink since Wei and Jin Dynasties, but I miss the lofty aspirations of my predecessors! "The so-called law posts are all questions about bereavement, parting and communication, which are applied to family and friends, but only a few lines. Covering it was not intentional at first, but it was fun, dripping, ugly or ugly. It is full of things, wearing curly letters, rotting in the eyes, so that it is amazing at first sight and endless, so that future generations get it, think it is wonderful, and want to treat it as a person! " The discovery of personality value is the greatest contribution of "storytelling age", and the calligraphy of Jin people is the representative art of this personality. During the Sui and Tang Dynasties, the "Shen Li" in the calligraphy art of Jin people was condensed into "Fa", so they were "skilled in wisdom and courage, but not surprised."
(3) The high artistic attainments of Jin people are not only based on their surpassing interest, going deep into the mysterious realm, respecting individuality, being lively and active, but more importantly, their "devotion"! No matter for nature, for the pursuit of philosophy, for friendship, there are:
(4) I said that the spirit of people in Wei and Jin Dynasties was the most philosophical, because it was the most liberated and free. Zhi Daolin is a good crane, and went to Maoshan in Tandong. Some people left their two cranes behind. When I was a child, my wings grew and I wanted to fly. Cherish is cherish. He Xuan can't fly anymore, but he looks back and hangs his head, looking at it as if he regrets it. Lin Yue said, "If you have the attitude of heaven, why are you willing to be good friends?" Lift the order and let it fly away. Jin people love spiritual freedom, so they can push themselves and things, which is a big move. This spiritual freedom and liberation can spread our hearts like flowers, accept the panorama of the universe and life, understand its meaning and appreciate its deep situation. The so-called "life perception" and "cosmic consciousness" in modern philosophy germinated in the detached mind of Jin people (making it easy for this era to accept and understand the Mahayana thought of Buddhism). Wei Jie was in a bad mood when he first thought about crossing the river. He said: "I don't think there is much overlap when I see this vast place. If it is affectionate, who can send this? " Later, in the early Tang Dynasty, Chen Ziang wrote on the Youzhou rostrum: "Before me, where were those lost times? Behind me, where are the future generations? . I think of heaven and earth, there is no limit, there is no end, I am alone, tears fall! " Not from here? Wei Jie's infatuation is more heartbreaking, and his generosity is endless. (However, Confucius said in Sichuan, "The deceased is like a husband, not giving up day and night!" Then I feel more philosophical, detached and meteorological. )
5) Jin people's "aestheticism of personality" and love and righteousness are cultivated into an advanced social culture, such as "bamboo forest tour, Lanting gathering momentum" and so on. Hyunri's debates and characters' tastes are the main contents of this social interaction. Therefore, the wording of the speech is unprecedented. The sentences in Jin people's letters and essays are natural and can be seen everywhere. The beauty of Tao Yuanming's poems and songs is also the bottom product of this "new era of talking about the world". Tao Yuanming's prose poems influenced the prose poetry school in Song Dynasty. Calligraphy of Su, Huang, Mi, Cai and others. Also strive to catch up with the style of Jin people's little three. But it is always too artificial and exaggerated, and there is no nature of Jin people.