Literary artistic conception is not only a literary image, but also a special literary image, which contains richer and more spectacular high-level literary images.
We can briefly introduce the ideological origin and historical development clues of artistic conception and explain its national characteristics.
Characteristics of literary artistic conception;
The characteristics of literary artistic conception: the combination of reality and reality, the image outside the image, the scenery outside the scene, the meaning outside the rhyme and the meaning outside the taste.
Poetry and writing have artistic conception, as do prose, drama and novels, but not all literary works have artistic conception.
Discrimination: Scenery blending is the basis and premise of producing artistic conception, but only scene blending can not produce artistic conception, so it is necessary to combine reality with reality. (Take the analysis of works as an example)
Creating suggestive and symbolic aesthetic images, choosing appropriate image structure, triggering and creating endless aesthetic space are the keys to creating literary artistic conception.
The realization of artistic conception is a dynamic process, which requires not only the careful creation of the author, but also the full imagination of the reader.
Differences and Relations among Artistic Conception, Image and Image
The general literary image is concrete and clear, while the artistic conception is vague and hazy; Artistic conception is not only a literary image, but also a sublimation of literary image.
Literary artistic conception is often composed of literary images (aesthetic images), but it goes beyond literary images.
As one of the artistic forms created by human beings, literary artistic conception is different from other artistic forms with its distinctive and unique artistic features, which are mainly manifested in four aspects: scene blending, virtual reality, life rhythm and infinite charm.
(1) scene blending
Scenery blending is the image feature of artistic conception creation. Wang Guowei said: "Literature has two natures: scenery and emotion". But the expression of emotion depends on the scenery, and lyric works depend on the aesthetic feeling of the picture. On the one hand, its artistic image has what Eliot called "Bildlichkeit", which is a vivid intuition; On the other hand, this image is the carrier of emotion, and it is a "strange combination of psychological events and feelings". In China's words, this image feature of artistic conception is called "scene blending". Fan, a writer in the Southern Song Dynasty, first put forward this concept in Sleeping Night Talk. He said, "Scenes blend without separation". A Qing Wang Fuzhi elaborated this more accurately. This emphasizes the dependence of emotions on the scene. He also said: "Although the scenery is divided into heart and things, the scenery gives birth to feelings, and the feelings give birth to the scenery, and the sadness and joy blend, and the glory and the plant greet each other and hide their homes." "Love and scenery are two names, but they are inseparable. God is a poet, wonderful and boundless. " This is a state of scene blending, which describes the dialectical relationship between emotion and scene and the artistic image in artistic conception. Poetry has two ways of expression: "Emotion is born in context, and emotion is contained in context". If we count the two as one, then we have three different types of scene mixtures:
The first is the hidden feelings in the scene. In the creation of this artistic conception, the author hides his feelings in the scene, and everything is shown through vivid pictures. Although he is expressionless, the feelings hidden in the scene are often more affectionate, such as Du Fu's quatrains "Wandering":
On the 30-mile path, poplar trees are covered with white felt, and green money is stacked on the lotus leaves on the stream. No one saw the young child with bamboo shoots, and the young child in the sand slept beside his mother.
The second is to look at the scenery in love. This way of creating artistic conception is often straightforward. Sometimes you don't even write about the scenery, but the scenery is very vivid. Please look at Li Bai's "Drinking the Bright Moon Alone" (2):
If the sky does not love wine, the wine star is not in the sky; If the earth doesn't love wine, there shouldn't be Jiuquan on the earth. I have heard that it is better than a saint, and the way back is as muddy as a saint. The sage has drunk, why seek immortality? Three cups lead to the road, and one fight is natural. But if you are interested in wine, don't pass it on to people who wake up.
The third is the scene combination. This category is the combination of the above two ways, and the lyricism and scenery writing have reached a seamless level. For example, Li Bai's "Nanling children don't go to Beijing":
White wine is returned to the mountains when it is newly cooked, and yellow chickens suck corn and autumn fertilizer; Tell the children to roast chicken and drink white wine, and the children will sing and laugh and lead people to wear clothes. Singing drunken masturbation, dancing sunset glory. It is not early to lobby for all kinds of hardships, whip horses and travel long distances. I want to be a silly woman and despise buying ministers. I want to leave home for Qin. Go out and laugh in the sky, we are not Artemisia people!
Of course, the above three ways of creating artistic conception can all write excellent works, and there is no difference in the methods themselves.
(2) Virtual and reality coexist.
This is the structural feature of artistic conception. Imagination and reality are a pair of philosophical categories, which are widely used in China's ancient literary theory and also expressed in the theory of artistic conception structure. Mei, a poet in the Song Dynasty, said: "The scenery that is difficult to write is inevitably indescribable. If it is in front of you, it is beyond words, and then it is the ultimate." This sentence is very rich in meaning, and one of them tells us that artistic conception includes two parts: on the one hand, it is "it" and on the other hand, it is the real part of "unspeakable". Structurally, artistic conception is a combination of the two. Therefore, later generations simply put forward the view that "there is law in the whole territory, and the situation is divided into reality and falsehood", and called the real part of the artistic conception "real situation"; The virtual part is called "virtual environment". The real environment refers to the scenery, shape and environment directly described, also known as "real environment", "event environment" and "material environment". Virtual realm refers to the aesthetic imagination space induced and developed by real realm, which is also called poetic space. On the one hand, it is the extension and expansion of the original picture in association, on the other hand, it is the taste and perception of emotion, spirit and meaning that accompany this specific association, that is, "endless meaning", so it is also called "spiritual realm", "situation" and "spiritual realm".
The rosefinch bridge is overgrown with weeds and flowers, and the sunset sets at the entrance of Wuyi Lane.
So what is the relationship between virtual reality and real reality? Generally speaking, virtual reality is the sublimation of the real world, which embodies the creative intention and purpose of the real world, 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. Therefore, China's literary theory has always attached great importance to this important role of virtual environment. In terms of poetic style, the Tang Dynasty poet Gao Sangjiao ran said: "The poet's thoughts were high at first." It's easy to escape from the original situation. The "situation" mentioned here refers to the refinement and assumption of the virtual environment. Jiao Ran believes that it is in the position of the core commander in chief in the artistic conception. However, the virtual environment cannot be created out of thin air, and the core does not represent the focus of artistic expression. In the creation of artistic conception, everything should be implemented in the concrete description of the real environment. Xu Yinfang of A Qing Dynasty had a good explanation for this. He said:
The works are deep and pithy, and the light language is also strong; Precious light overflows, and the simple language is also Chinese. Truth is in the realm and transcends rhyme, and its beauty comes from the present reality.
In other words, even the best virtual environment comes from the real environment. Virtual environment and real environment seem to be two parts, but in artistic expression, all efforts should be put on the description of real environment.
What is emphasized here is that "real people force Xiao, virtual people come out", which reveals the mystery of artistic conception creation. However, "real people force Xiao" is not to copy life, but to select, refine and process life images under the guidance of imaginary virtual environment. This kind of effort is to better express or open the virtual environment and seek common ground while reserving differences. The latter is more important. In short, the virtual environment should come from the real environment.
(3) the pace of life
What is the rhythm of life? In other words, the life displayed by artistic conception is truly profound and magnificent, or the beauty of life itself. Zong Baihua believes that "when the image expresses the soul life, it is the time when aesthetic feeling is born", which is related to China people's poetic world outlook and philosophy.
The phrase "Endless body swims without me" comes from Zhuangzi Emperor. Because fish swimming itself is a life form, the so-called "infinite body and use" is, in today's words, the poet's experience of the rhythm of life; Artistic conception is the expression of this rhythm of life; "Wandering without me" is an aesthetic grasp of Tao, a free realm of "vibrating in the infinite, so embracing the infinite" (Zhuangzi's theory of everything), and refers to the highest aesthetic effect pursued by artistic conception. "Non-ego" has the meaning of non-ego, invisibility and tracelessness, that is, it is in a life rhythm of "surpassing image" (such as Yin and Yang).
(4) Infinite charm
This is the aesthetic charm of artistic conception. "Charm" refers to the endless aesthetic factors and effects contained in artistic conception. It contains many factors such as emotion, reason, rhyme, interest and taste, so there are many aliases such as rhyme, sentiment rhyme, rhyme, interest and interest. These are the prelude to this theory. In the late Tang Dynasty, Si Kongtu founded the theory of "lasting appeal". He believes that the aesthetic effect of artistic conception has infinite charm, which contains both internal charm and external charm. He also called it "the taste beyond rhyme" and "the purport beyond taste". Since the Song Dynasty, the aesthetic connotation of "ambiguous rhyme" has been highlighted. Lu Shiyong, an Amin, further believes that "rhyme" is the life of artistic conception, "rhyme leads to life, and without rhyme, it leads to death". He also said that "seeking talent lies in dyeing, ambition lies in turning, affection lies in lingering, rhyme lies in grace, tone lies in throughput, posture lies in parade, so rhyme is born." This shows that the so-called "charm" is based on finding talents.
In a word, artistic conception embodies the aesthetic ideal of the Chinese nation, becomes the advanced form of lyrical literary images, and becomes the artistic pursuit of many poets and writers with its image characteristics of scene blending, structural characteristics of virtual reality and reality, aesthetic characteristics of endless charm and essential characteristics of expressing the rhythm of life.
Literary typicality is an artistic image of the unity of the individual and the general, and it is a necessary literary means to reflect the essence and law of life through the individual artistic image. Literature is creation, full of the imagination and fiction of the author. You'll never find a literary model based on the house number. The key to shaping an example lies in how to dialectically unify the authenticity of life and the romanticism of art, but in both, the authenticity of life is fundamental and the basis of artistic romanticism. Losing the authenticity of life will inevitably lead to the distortion of literature, and once literature is distorted, it will lose life. As a normal mode and advanced form of literary image that conforms to human aesthetic ideal, literary typical refers to the characters that are presented in the language system of realistic works, show their characteristics, are full of aesthetic charm and contain rich historical connotations. Also known as a typical character or personality. Typical is the unity of personality and * *, but this is the unity of * * in personality-not the mechanical addition of the two. Individuality and sexuality are inseparable in art, but individuality is concrete. Baumga said: "Individual things are completely certain, so the concept of individual things can best see the essence of poetry." Goethe said that "paying attention to and describing individuals is the real life of art". However, a simple individual does not constitute a typical one, but a typical one is a generalized one. Hegel said: "what art should do is not to flatten and polish her content and turn it into a smooth conceptual thing;" It is to make her content unique and something with life personality. In real life, characters are the concrete existence of individuals, so the literary model should be based on "distinctive personality description". Typical literature is different from ordinary artistic images. First of all, she has higher artistic achievements than ordinary artistic images and can better meet the aesthetic requirements of readers. This is because she can concentrate on summarizing the essence and laws of some aspects in real life into artistic images, thus inspiring readers to understand the truth in life more deeply. Relationship between typicality and image: artistic image can be divided into two levels: general and typical. Artistic modeling is the sublimation of artistic image and a high-grade artistic image. The difference between image and typicality lies in whether there are distinct uniqueness and profound generality, and whether they are organically combined. A literary model refers to a literary figure who is higher than the average figure. This kind of literary figure either summarizes a certain figure or condenses a certain social phenomenon, thus surpassing this figure and becoming a specific general title. Therefore, the literary models created by great Chinese and foreign writers in their immortal works have long-lasting artistic charm.
Symbol refers to the indirect expression of abstract or other ideas with concrete things or images. (For example, China's word "beauty" symbolizes a beautiful woman. The Greek verb Symballein means "put together" and its noun is Symbolon. In China, symbol is a figure of speech. Any kind of abstract ideas, emotions and invisible things are not directly expressed, but indirectly stated through an image recognized by the public, which is called a "symbol". In linguistics, art, literature and other fields, the word "symbol" has a long history, but there have been differences on its definition. Symbols have different meanings from signs, symbols, metaphors or fables.