Basic connotation
An important category of traditional Chinese aesthetic thought. In traditional painting, it is the art that is reflected in the highly integrated integration of emotion and scenery through the depiction of time and space. realm.
The theory of artistic conception first appeared in literary creation and criticism. There are "imagery" theory and "realm" theory in literary creation during the Three Kingdoms, Jin Dynasty, Southern and Northern Dynasties era. The poets Wang Changling and Jiao Ran of the Tang Dynasty put forward the theories of "situation" and "destined environment", and Liu Yuxi and the literary theorist Sikong Tu further put forward the creative opinions of "images outside the image" and "scenery outside the scene".
In the Ming and Qing dynasties, extensive discussions were conducted on the relationship between meaning and context. Zhu Cunjue, an art theorist in the Ming Dynasty, proposed the idea of ??"integrating the urgent situation with the surroundings". Ye Kui, a poet and literary critic in the Qing Dynasty, believed that both the meaning and the situation should be paid equal attention to, and the strong tone of "relaxing one's mind" and "making full use of the scenery" should be organically combined. Modern writer Lin Shu and esthetician Wang Guowei emphasized the importance of "meaning". Lin Shu believes that "only ideas can be created, and the six can be created"; Wang Guowei believes that creation of words should be subordinated to creativity, advocates "inner beauty", and puts forward the "self-realm" and "the state of self" that win over meaning in poetry creation. There are two different aesthetic norms of "selfless state".
The concept of artistic conception was applied to painting mainly in the Five Dynasties, Song Dynasty and Yuan Dynasty when landscape painting developed rapidly. However, as early as the Three Kingdoms, Jin and Southern and Northern Dynasties, influenced by Taoist thought and metaphysics, the creation of landscape paintings had evolved from map making. The infantile stage of style has entered a period of emphasizing "real truth" and emphasizing "sketching from life". Painters began to pay attention to the depiction of reality, and put forward the theory and art of "clearing the taste of the image" and "forgetting the image with pride" The creation aims at "sleeping the mind" and "pleasant" thoughts. This kind of theory and practice was the forerunner of the composition of the artistic conception of traditional painting later. The Tang Dynasty art historian Zhang Yanyuan proposed the "idea" theory, the Five Dynasties landscape painter Jing Hao proposed the "real scene" theory, and the Song Dynasty painter Guo Xi proposed the "emphasis on the importance of landscape painting creation". He believed that creation should be "created by intention" and appreciation should be "exhausted by intention". For the first time, he used the concept of "realm" which has a similar connotation to "artistic conception". The rise and development of literati paintings in the Song and Yuan Dynasties, the artistic concepts and aesthetic ideals of literati painters, especially Su Shi's artistic proposition of integrating poetry and painting in painting, and the "elegance" and "elegance" and "elegance" and "elegance" of Yuan Dynasty painters Ni Zan and Qian Xuan The introduction of the theory of "morale" has caused traditional painting to shift from focusing on the description of objective objects to focusing on the expression of subjective spirit. The creative tendency of constructing scenes with emotions and supporting objects to express aspirations has promoted the development of artistic conception theory and practice. Da Chongguang, a painter and theorist of the Qing Dynasty, used the concept of "artistic conception" in his book "Huaquan" and put forward the theories of "real realm", "real realm" and "divine realm" for the creation of landscape paintings. He made a more in-depth analysis of the connotation and interrelationship with the artistic conception, and made useful explorations into issues such as reality and reality, form, spirit, and scene in paintings, that is, the expression of artistic conception.
The proposal and development of artistic conception theory has given Chinese traditional painting, especially landscape painting, a dual structure in aesthetic consciousness: one is the artistic representation of objective things, one is the expression of subjective spirit, and two The organic connection between the two constitutes the artistic conception of traditional Chinese painting. For this reason, it is said that the artistic conception that art emphasizes is neither a simple depiction of objective objects nor a random combination of subjective ideas, but the unity of the subjective and objective worlds. It is the painter who "obtains the source of his heart through the creation of external teachers." It is a highly harmonious embodiment of natural beauty, life beauty and artistic beauty.
The composition of artistic conception is based on the spatial image. It is through the grasp and management of the image that "emotions and scenery merge, and ideas and images connect." This is not only the basis for creation. , but also the basis for appreciation. Painting creates artistic conception by shaping intuitive and concrete artistic images. In order to overcome the limitations of instantaneous and static nature of plastic arts, painters often display time through inspiring and symbolic artistic language and expression techniques. expansion of processes and space. For example, scattered perspective, virtual and real processing, white and black, and image modeling in traditional Chinese paintings are all expression techniques adopted to maximize the presentation of time and space. On the one hand, these techniques allow the painter to gain full initiative in the composition of artistic conception and break the limitations of objective objects in a specific time and space. On the other hand, they also provide the viewer with a broad world of artistic imagination, making the limited space in the work And images contain the infinite world and rich ideological content. In this sense, the final composition of artistic conception is achieved through the combination of creation and appreciation. Creation is to express the infinite as the finite, and the power of a hundred miles is condensed within a short distance; while appreciation is to peek from the finite to the infinite, and appreciate the power of a hundred miles within a short distance. It is this process of creation from surface to point and appreciation process from point to surface that enables the artistic conception in the work to be revealed. Both require images and imagination to appreciate the beauty of the artistic conception.
Emotion and scenery are the basic factors that constitute artistic conception, but the emotion in artistic conception must be a reflection of the spirit of a specific era; and scenery is not just a general natural landscape, but also includes It depicts occasions, environments, characters and events that can touch people's feelings and arouse life memories, so that the artistic conception of the work can gain social and psychological recognition and emotional resonance during the appreciation process.
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A brief discussion on the aesthetic characteristics of artistic conception, Feng Yongchao
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