Refers to the artistic conception and realm expressed by literary and artistic works or natural scenery.
Zhu Chengjue's Poem of Stay in the Hall in the Ming Dynasty: "The beauty of poetry lies in the harmony of artistic conception. Apart from sound, it is the true taste." In the Qing Dynasty, Yu Yue's Essays on Hall Spring, Volume II: "Yun Qi's monasticism is extraordinary." Duanmu Hongliang's The Art of Guan Shanyue: "People who paint plum blossoms rarely break through the Lin Hejing-style plum blossom character, and always emphasize the faint fragrance and the artistic conception of thin shadows."
Basic explanation
The significance and realm of literary and artistic works conveyed by images.
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definition
Artistic conception refers to the poetic space presented in lyric works, which is full of scenes, reality and reality, active in life rhythm and infinite charm.
If the typical image is a single image, then the artistic conception is an image system composed of several images, and it is an advanced form of literary image as a whole image.
Although there are different opinions on the theory of "realm" in literary and art circles, it is surprising that most theorists equate "realm" with "artistic conception", which is called "literary image" and "world in works". This view is undoubtedly one-sided.
As a general idiom, the word "realm", such as the cloud "there are two realms, the realm of poets and the realm of ordinary people", refers to an abstract realm in works. Another cloud says, "Those who have achieved great success in ancient and modern times, when asked by universities, must go through three realms." This so-called realm refers to people who have achieved success at different stages. Another example is the cloud "the bright moon shines on the snow", "the river flows day and night", "the bright moon hangs in the sky" and "the Yellow River gathers yen", which can be described as a wonder of the ages. The so-called border lunch here refers to the scenery described by the author.
Artistic conception is one of the basic categories of artistic dialectics, and it is also an important issue to be studied in aesthetics. Artistic conception is an artistic realm that combines "meaning" belonging to subjective category and "environment" belonging to objective category. The content of artistic dialectics is extremely rich. "Meaning" is the unity of emotion and reason, and "environment" is the unity of form and god. In the process of their unification, meaning, form and spirit permeate and restrict each other, thus forming "artistic conception".
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Detailed comments
The important category of China's traditional aesthetic thought is the description of time and space in traditional painting and the artistic realm reflected by the high integration of emotion and scenery.
The theory of artistic conception first appeared in literary creation and criticism. There are "image" theory and "realm" theory in the literary creation of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties. Poets Wang Changling and Jiao Ran in the Tang Dynasty put forward the theories of "framing" and "edge scenery", while literary theorists Liu Yuxi and Si Kongtu further put forward the creative ideas of "image outside the image" and "scenery outside the scene".
During the Ming and Qing Dynasties, the relationship between meaning and environment was widely discussed. Zhu Cunjue, an art theorist in Ming Dynasty, pointed out that China, a master of "urgent harmony", paid the most attention to the creation of artistic conception. Ye Kui, a poet and literary critic in the Qing Dynasty, thought that both meaning and environment should be paid equal attention, and emphasized the organic combination of "freehand brushwork" and "scenery description". Modern writer Lin Shu and aesthetician Wang Guowei both emphasize the importance of "meaning". Lin Shu believes that "one person can make an idea, and six people can make an idea"; Wang Guowei believes that poetry creation should be subordinate to creativity, advocates "inner beauty", and puts forward two different aesthetic norms in poetry creation: "the realm with me" and "the realm without me"
The concept of artistic conception was applied to painting, mainly in the Five Dynasties, Song and Yuan Dynasties when landscape painting developed rapidly. However, as early as the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties, influenced by Taoist thought and metaphysics, the creation of landscape painting has stepped into the stage of emphasizing "realism" and "sketching" from the naive stage of making maps. Painters began to pay attention to the description of the real situation and put forward the concepts of "true taste" and "get carried away". This theory and practice is the forerunner of traditional painting emphasizing the composition of artistic conception. Zhang Yanyuan, an art historian in the Tang Dynasty, put forward the concept of "artistic conception", while Guo, a landscape painter in the Five Dynasties and a painter in the Song Dynasty, put forward the problem of "attaching importance to meaning" in landscape painting creation, holding that creation should be done with intention and appreciation should be "intentional but poor", and used the "realm" with similar connotation to "artistic conception" for the first time. The rise and development of literati painting in Song and Yuan Dynasties, the artistic concept and aesthetic ideal of literati painters, especially Su Shi's artistic concept of advocating the unity of poetry and painting in painting, and the "Yi" and "Morale" put forward by Ni Zan and Qian Xuan in Yuan Dynasty made traditional painting shift from focusing on the description of objective images to the expression of subjective spirit, which promoted the development of artistic conception theory and practice. Da Zhongguang, a painter and theorist in the Qing Dynasty, used the concept of "artistic conception" in his book Painting Sasakawa, put forward the theories of "true state", "true state" and "divine state" in landscape painting, made a deep analysis of the meaning and relationship between meaning and state in painting, and made a beneficial exploration on the expression of artistic conception in painting.
The presentation and development of artistic conception theory make China traditional painting, especially landscape painting, have a dual structure in aesthetic consciousness: one is the artistic representation of objective, peaceful and far-reaching artistic conception, and the other is the expression of subjective spirit. The organic connection between them constitutes the artistic conception beauty of China traditional painting. Therefore, the artistic conception emphasized by legendary art is neither a simple description of objective images nor a random combination of subjective concepts, but the unity of subjective and objective worlds, which is the embodiment of the painter's high harmony in three aspects: natural beauty, life beauty and artistic beauty.
The composition of artistic conception is based on the spatial image. It is through grasping and managing the image that "emotion meets scenery, meaning communicates with image", which is the basis of creation and appreciation. Painting forms artistic conception by shaping intuitive and concrete artistic images. In order to overcome the limitations of plastic arts brought by instantaneity and static feeling, painters often express the progress of time and the expansion of space through inspiring and symbolic artistic language and expression techniques. For example, scattered perspective, true and false processing, calculation of white and black, and image modeling in China's traditional paintings are all expressive techniques adopted to maximize the performance of space-time situations. On the one hand, these techniques give the painter full initiative in the composition of artistic conception, breaking the limitation of objective objects in specific time and space, on the other hand, they provide a broad artistic imagination world for the appreciator, so that the limited space and images in the works contain infinite world and rich ideological content. In this sense, the final composition of artistic conception is realized through the combination of creation and appreciation. Creation is to show infinity as finite, and the trend of a hundred miles is concentrated in a short distance; And appreciation is to peep at the infinite from the finite and appreciate the potential of a hundred miles in a short distance. It is this process of face-to-face creation and face-to-face appreciation that makes the artistic conception in the works come out. Both need image and imagination to realize the beauty of artistic conception.
Artistic conception means that the painter expresses his feelings about mountains and rivers with the images he expresses, and the painter writes these feelings and makes future generations happy with the rich connotation of his works.
In the history of China's aesthetics, the concept of artistic conception was put forward relatively late. The artistic criticism in the Tang Dynasty introduced concepts such as realm and realm from Buddhist terms to express the artist's artistic expression object and artistic image. After the Tang and Song Dynasties, the concept of artistic conception began to appear in art criticism. After discussion, analysis and extensive application by writers and critics in Qing Dynasty, the connotation of artistic conception has become richer, deeper and more unified. The formation of artistic conception theory is a long historical process. In the pre-Qin period, China's classical aesthetics has generally studied the relationship between mind and matter, and realized that human feelings are the result of foreign affairs. During the Wei, Jin, Southern and Northern Dynasties, on the basis of in-depth exploration of the law of thinking in images, this paper fully discussed the unity of subjective feelings in artistic creation, demanding that "the spirit is written in form" and "the charm is vivid", paying attention to grasping the internal characteristics of aesthetic objects and consciously pursuing the "taste" of art. In the middle Tang Dynasty, Shi Jiao Ran and Si Kongtu advocated "nothing to say, everything is romantic" and "what can be understood is difficult to describe", and paid more attention to expressing the writer's unique aesthetic experience and interest. Yan Yu's theory of "different materials" and "different interests" in the Southern Song Dynasty and Wang Shizhen's theory of "verve" in the Qing Dynasty gradually deepened the aesthetic characteristics of artistic conception from different aspects, making the main characteristics of China's classical art tendency to "express" more clear and prominent.
Now it is often used for the feeling of pictures and screen names.
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Characteristics of artistic conception
The structural feature of artistic conception is the coexistence of reality and reality. Artistic conception consists of two parts: one part is a more realistic factor of "being like the present", which is called "reality"; Part of it is the virtual part of "reading between the lines", which is called "virtual environment". Virtual reality is the sublimation of the real world, which embodies the intention and purpose of creating the real world, embodies the artistic taste and aesthetic effect of the whole artistic conception, restricts the creation and description of the real world, and is in the position of soul and commander in chief in the artistic conception structure. However, the virtual environment cannot be created out of thin air, and it must be carried out in the concrete description of the real environment. In a word, virtual reality is represented by real reality, and real reality is processed under the control of virtual reality, which is the structural principle of the artistic conception of "virtual and real coexistence"
The essential feature of artistic conception is "life rhythm", that is, to express the beauty of life itself. In the aesthetic psychological structure of our nation, the universe realm and artistic conception are regarded as a seamless and isomorphic relationship. Because the universe itself is a life form, the poet's experience of the universe is the experience of the rhythm of life, and the artistic conception is precisely the expression of this rhythm of life. Although the human heart is small, it can hold the whole universe. The poet's heart itself is the creation of the universe, and he can reflect the poetic heart and gas field of the universe. Therefore, we say that artistic conception is essentially a psychological phenomenon and a life rhythm of human mind. As a life rhythm of human mind, literary artistic conception has three characteristics: (1) expressing sincere feelings. (2) Interest in flying. (3) spread the spirit of all things.
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The difference between "artistic conception" and "image"
In our daily life, we often use the word "artistic conception". For example, if a poem is very good, we will say, "This poem is very artistic." A painting is very good, so we say, "This painting is very artistic." Even after watching a movie and walking out of the cinema, we will hear someone say, "Today's movie is very artistic." But although everyone is using this word, many people don't know what artistic conception is.
The difference between artistic conception and image lies in:
1. They reach different levels and depths: image refers to the breadth of aesthetics and artistic conception refers to the depth of aesthetics;
2. Artistic conception is the sublimation of images;
3. In China culture, image belongs to the artistic category, while artistic conception refers to the existence and movement of spiritual time and space, and its scope is infinite, which is related to the whole philosophical consciousness of China people.
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Poetic artistic conception
Simply put, it is the environment of poetry creation. It can be a scene when writing, a memory or a scene in your mind, but you can't actually reach it. The artistic conception of poetry is the author's mood and feelings. "Where petals flow like tears, lonely birds sing their sorrows" is the truth.
Artistic conception is an integrated artistic realm created by the poet's subjective feelings and objective scenery. Poetry creation is inseparable from images, and the choice of images is only the first step, which is the basis of poetry; The art of combining images to create a poem with harmonious meaning and context
Artistic conception (15 map) is the goal. There is a certain relationship between artistic conception and image in essence. They are not only the product of the unity of subjectivity and objectivity, but also the product of the combination of emotion and things. But there are differences between them: from the formal point of view, images are related to words, and artistic conception corresponds to the whole article.
For example, Li Bai's "Farewell to Meng Haoran on the way to Yangzhou" said: "The old friend stayed in the Yellow Crane Tower in the west, and the fireworks went down to Yangzhou in March. Lonely sails overlook the blue sky, but I can see the Yangtze River flowing in the sky. " This poem has the following images: Yellow Crane Tower, fireworks, solitary sails, the Yangtze River and so on. These images are combined to form a picture that melts in emotion: the poem does not directly express the thoughts of friends, but expresses the deep farewell to friends through the image that a poet's lonely sail disappears, the river grows and the river grows. Literally, every sentence describes the scenery, but in fact, every sentence is lyrical. It can be said that all landscape words are sentimental. Another example is He Zhu's "Jade Case", "A stream of smoke, a city full of wind, plum yellow rain". These three images form a whole, which artistically answers "How much is leisure?" It is not a simple addition of three images, but a touching artistic realm: carefree sorrow, like endless smoke and grass, like sheep flying all over the city, and like rain when sad and confused.
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Words that modify artistic conception
Quiet and leisurely, gorgeous and magnificent, fresh and natural, quiet and quiet, magnificent, bright and noble, impassioned, silent and solemn. ...