What is the aesthetic concept embodied in Laozi's principle of "combination of reality and reality"?

The aesthetic connotation of Laozi's "Truth Theory" and its painting theory: The position and significance of "Truth Theory" in the art theory of past dynasties are different, but it has deep roots with Taoism, Laozi and Zhuangzi. This paper mainly analyzes the aesthetic connotation of the theory of "virtual reality" from Laozi's philosophical concepts such as "whether there is or not", and lists the significance of the theory of "virtual reality" in literary theories of past dynasties. Finally, taking Da Zhongguang's Sasakawa as an example, this paper analyzes the performance of the theory of "virtual reality" in the theory of Chinese painting. Key words: theory of excess and deficiency; Laozi's aesthetics; Whether there is mutual existence; Taoist Laozi's aesthetic thought of virtual and real, based on the debate of painting theory, had a far-reaching influence on China's artistic creation and artistic aesthetic psychology. On the one hand, Laozi's thought of "valuing nothing" clarified the unity of reality and emptiness, on the other hand, it emphasized "emptiness", which influenced China's artistic aesthetic psychology, made China's artistic creation embark on the road of combining reality and emptiness, and made China's art show the characteristics of pursuing infinity and advocating emptiness. Whether it is "the combination of reality and falsehood", "the combination of reality and falsehood" or "writing with reality and falsehood", it can be regarded as "the theory of reality and falsehood" with Laozi's aesthetic connotation. First, the "virtual reality" in Laozi's thought Although the "theory of virtual reality" has the aesthetic meaning of Laozi, it is not directly discussed in the full text of Laozi. (Lao Tzu's full text, except for chapter 22, chapter 16 and chapter 53, means nothing. "? The word "/truth" only appeared twice. In chapter 3, it means richness, and in chapter 38, it means simplicity. ) So, how do we conclude that "The Theory of Deficiency and Truth" has Laozi's aesthetic thought? First of all, we should understand that there is an internal process of the transformation of the theory of "excess and deficiency" from the philosophical level to the artistic level, and this transformation has not been clearly formed in Laozi. "Virtual reality" belongs to the concepts of aesthetics and literature and art, but Lao Zi and even Zhuangzi, the birthplace of their thoughts, have no artistic desire at all, and have never taken a specific art as their pursuit object. The highest realm pursued by Taoism, Tao, thinks that everything should be related to Tao, and art is no exception. Therefore, the "virtual reality" belonging to the art category should also reach the realm of Tao. Zong Baihua directly pointed out that "Laozi said:' whether there is mutual growth',' empty and unyielding, the bigger the move'." This world outlook is manifested in art, which requires that art must also be combined with reality in order to truly reflect the life world. Zong Baihua further pointed out that the real problem has two aspects. One is that "the dreamer thinks that objective reality is a world that combines reality with reality, so it is embodied in art and should be combined with reality to have life." On the other hand, thinkers also believe that art should be combined with subjectivity and objectivity in order to create a beautiful image. This is the idea of turning scenery into emotion. He said that the philosophical origin of the theory of virtual reality, or virtual reality, virtual reality, virtual reality, virtual reality and virtual reality comes from Lao Zi's philosophical idea of "whether there is a virtual reality or not". Laozi is a concise, contradictory and rich philosophical work. Regarding the understanding of the world, Lao Tzu said: "The Tao gives birth to one, two, three and all things. The negative "three" of everything does not refer to specific numbers, but to the order of the universe. Laozi has repeatedly stressed that the origin of the world is the indescribable "Tao". " "One" is equal to the qi between heaven and earth, which is what Zhuangzi said, "one", "two" is equal to yin and yang, and "three" refers to the "harmonious" weather where yin and yang blend together, so everything comes from the state where yin and yang flow and blend. From the viewpoint that "everything in the world is born of something, and everything is born of nothing", Lao Zi's existence belongs to the concept of cosmology, and "Tao" includes both "nothing" and "being". The void qi existing between heaven and earth is constantly changing, which is "whether there is" or not, and it is also virtual and real. Because anything lacks vitality and existence value without "emptiness" and cannot exist in the real world without "reality". Therefore, the coexistence and complementarity of' emptiness' and' reality' is mainly due to the' being and not being' in Laozi's philosophy. Chapter 1 1 of Laozi talks about uselessness. "A hub with 30 spokes * * *, nothing, there is a car. Think of it as a device. When it is useless, it will be useful. Carve the family into a room, and when it has nothing, it has a room. Therefore, it is beneficial and useless. "In fact, it is just to show that the usefulness of an entity lies in its emptiness and emptiness. In aesthetics, a series of categories, such as "the combination of reality and reality", have emerged, which on the one hand require a true reflection of the world, and on the other hand pursue spiritual values higher than matter. Zhuangzi agrees with Laozi's world view of "Taoism is natural" and "whether there is mutual existence or not". Moreover, due to Zhuangzi's more meticulous and ingenious explanation, the theory of reality and excess has been invisibly extended to a broader literary field. For example, "Xin Zhai", "Sit Forgetting" and "Wandering" which belong to the aesthetic soul, and "I know cows skillfully" and "I eat food" which belong to artistic creation and pursuit, all come from Zhuangzi's exertion of Tao. There is a great deal of analysis about emptiness and reality in Zhuangzi, which puts forward ideas such as emptiness, emptiness and emptiness, and teaches people to reach the realm of beauty and joy. But most notably, Zhuangzi revised the proposition of "using Lao Zi's meaning" through the fable of "Wang Xiang gets Zhu Xuan", emphasizing that only the image ("Wang Xiang") which combines tangible and intangible can express the truth of the universe ("Tao"). Zhuangzi's thought not only combines the thoughts of Laozi's "existence and non-existence" and Zhouyi's "setting an image to the best of one's mind", but also strengthens the influence of "theory of reality and falsehood" on China's artistic conception theory. Secondly, the two words "virtual reality" and "virtual reality" in art theory, through the rich interpretation of Laozi's philosophy, formed the artistic theory of virtual reality. After that, all generations worked hard to truly form the theory of "virtual reality". People in the Han Dynasty regarded the authenticity of their works as the key to their success, and pointed out: "The distinction between authenticity and falsehood is fixed, while the literary works of China people are destroyed by falsehood. Since the Wei, Jin, Southern and Northern Dynasties advocated the detachment of literary research, the atmosphere of "worshipping emptiness" has prevailed in the creation of works. During the Sui and Tang Dynasties, "virtual reality" was applied to calligraphy theory, and the density and structure of fonts were emphasized. In terms of poetry, poetry creation should pay attention to the combination of reality and fiction, from tangible images to nihilistic images, and achieve the highest artistic effect. For example, Si Kongtu summarized the characteristics of artistic conception as "the image outside the image, the scenery outside the scene", and also put forward the theory of advocating emptiness (twenty-four poems) such as "bold", "dilute" and "implicit". Fan Song? Starting with the relationship between emotion and scenery in poetry creation, this paper emphasizes "taking reality as emptiness and turning scenery into emotion" (Volume 2 of Sleeping in Bed), and expresses thoughts and feelings by describing scenery. Painting theory in Song Dynasty also advocated that painting should be "as far away as Wan Li" (Xuan He Hua Pu), which is also the function of the theory of reality and excess. During the Ming and Qing Dynasties, virtual reality theory was widely used in various artistic styles and became an aesthetic category with universal significance. In painting, Tang mentioned the relationship between frame size and practical use; Dong Qichang emphasized the interaction between reality and reality and the relationship between density from the aspect of pen use; Da Zhongguang's spatial method theory of image processing: Shi Tao, Gao Ding, etc. , emphasizing that reality in art is a reflection of real life; In poetry and prose, Xie Zhen thinks that the scenes in poetry are realistic and lyrical, emphasizing the combination of reality and reality and the blending of scenes; Liu Xizai analyzed the aesthetic taste of art with the theory of reality and falsehood. The theory of virtual reality in China's ancient aesthetics is closely related to imagery, artistic conception, black and white, complexity, density, revelation, fatness, withering, concealment, lightness, opening and closing, etc. They occupy a very important position in different fields of literature and art. Generally speaking, "emptiness" refers to the elusive spiritual level of aesthetic objects, while "reality" refers to the actual form of aesthetic objects. Although "virtual" is invisible, it is an indispensable part of artistic space. In the Qing dynasty, Yunnan Tian once said: "The ancients used pens, which were extremely solid, and the more ethereal they became. Today, people decorate a corner, and they have seen the complexity. In fact, emptiness is full of spirit. The more you have it, the less you will get tired of it. "He means that in painting, emptiness and reality are handled well, emptiness is not handled well, and there is no emptiness and beauty. In painting and calligraphy, the expression of reality and reality includes seeing white in black, showing black in white, seeking simplicity in secret, the weight of pen, the obscurity of momentum, the thinness of brushwork and so on. The theory of Chinese painting has matured in the Qing Dynasty, and "reality" has become an indispensable part of the conception, layout and pen and ink of painting and calligraphy. Da Zhongguang, the author of Painting Sasakawa, made a more in-depth analysis of the artistic conception of "virtual reality" in landscape painting. Ten as one, the hills and valleys in the chest are easy to be poor; A picture is better than a picture, and the haze at the bottom of the wrist is endless. The whole situation is distributed in the chest, and the abnormality is born under the fingers. The momentum is far away, and everyone is in the party; The charm is leisurely, and it is said that it is a product. If you don't forget your eye, you will be famous in the world; If you lose it in the blink of an eye, it is a mediocre cut. When talking about composition, Da Zhongguang not only emphasized the importance of "gaining momentum", but also talked about how to compose and lay out the composition from many aspects: gaining momentum can be managed at will, and losing momentum can be cleaned up wholeheartedly. The push-pull of the potential is several microns, and the cohesion of the potential depends on the phase. From a realistic point of view, Shan attaches great importance to the layout of Chinese paintings, emphasizing ingenious composition and leisurely charm. His painting thought is best summed up in one sentence: "the coexistence of reality and reality, no painting is beautiful." Where there is no painting, the painting is empty, and the realm outside the image can be born in the real scene of painting. Therefore, there is no "reality" in the painting, and "emptiness" cannot linger; There is no "virtual" in the painting, and the "real" scene has no aesthetic interest. This is what Da Zhongguang said, painting needs space, "reality" and "spirit". Zhou pointed out in the Collection of Chinese Paintings that the composition of Chinese paintings should pay attention to artistic conception and scenery, and one of the most important composition techniques is "truth". It requires that according to the needs of the picture structure, the blank of the picture should be handled skillfully by using the laws of unity of opposites such as guest and host, echo, opening and closing, concealment, simplicity, density, reality and irregularity. {1 1} Zong Baihua once said that "the blank on paper is the real painting background of Chinese painting" and "the blank without painting is the" nothingness "in Laozi and Zhuangzi's worldview". {12} Huang once taught that "composition is mainly based on position theory, but it is virtual, and virtual is real, and there is a picture". "Without the contrast between virtual and real, this blank on the screen will be empty". "As a painter, the understanding of virtual and real is often based on virtual, and virtual is real. A landscape painter, sometimes watching him focus on painting mountains, is actually painting clouds, that is, painting mountains to show clouds. " {14} It can be seen that China painters create infinite image space in limited pictures, which is inseparable from the application of virtual and real techniques and the understanding of aesthetic thoughts. Does western painting, as opposed to Chinese painting, also pay attention to realism? The answer is yes. However, I think that the "reality" in western painting mainly lies in the three-dimensional sense, structure sense, volume sense and contrast between light and shadow of the picture space, and lacks direct concern for aesthetic thought. Western art attaches importance to imitating nature, thinking that the more art forces truth, the closer it can be to truth and beauty. Therefore, the pursuit of a visual real moment in painting performance, the use of light and shadow, virtual reality, geometric perspective painting to create a space illusion that conforms to the real experience. "Virtual reality" is one of the most important expressions in this perspective painting. This is essentially different from the reality in Chinese painting. Zong Baihua even thinks that "anyone who wants to combine Chinese and western painting methods in one painting will fail because he doesn't notice the different positions of the universe." "{15} four. Conclusion Contemporary research on the theory of "excess and deficiency" is more about analyzing its artistic theoretical value, but less about its philosophical aesthetic thought. The theory of "virtual reality" gradually matured in the ancient history of China. I think the fundamental reason why it has such vitality is that it is based on Taoist Laozi's cosmogenesis theory. Although there is no direct comment on art in Laozi, its idea of "whether there is mutual existence or not" actually contains the artistic connotation of "virtual reality coexisting with reality". Since Laozi, the discussion and application of "virtual reality" in the history of China's art theory has never stopped, but the emphasis and understanding are different. With the improvement of the status of landscape painting and ink painting, as an important artistic creation principle and aesthetic demand, the theory of "virtual reality" has attracted unprecedented attention from painters and theorists in China.