Who can talk about the blank beauty of poetry in the prosperous Tang Dynasty? It is urgent. Thanks in advance! !

On the blank of artistic conception in China ancient literature

Author: Kim

China's ancient poetry culture is a classic text of world art, which was created by modern China artists and cannot be copied. As the inherent essence of China's poetry culture, the meaning gap and uncertainty in ancient art have the holographic characteristics of China's literary spirit. It is also the core topic of China's aesthetic hermeneutics of ancient literature, and the generation and operation mechanism of China's artistic significance with artistic conception as the main form. It is of great significance to study the blank and uncertainty of artistic conception in China ancient literature.

First, the unique artistic grasp of China's poetry culture

China ancient literary critics have a profound understanding and summary of the uncertainty and meaning gap of literature. In ancient literary theory, the discussion about it can be described as full of books and chapters. Zhong Rong thinks in Preface to Poetry: "Therefore, poetry has three meanings: one is joy, the other is comparison, and the third is fu." The text is full of meaning, but also prosperous; Because things are metaphorical, they are better than others; Speaking directly, writing fables, giving alms and three meanings, using it properly, using the wind, using Cai Dan to moisten it, making the tasters infinite and tempted, are the best poems. The infinity of 1 is no longer a literal place, and the redundant meaning is often in the blank space. The highest realm of poetry lies in infinite taste. Liu Xie thinks: "The hermit also emphasizes the purpose outside the text. "2." The husband is hidden as the body, and the righteousness is outside the text. The secret is bypassed and hidden. For example, elephants transform into each other and rivers are desecrated. "He emphasized the profound beauty and profoundness of China's ancient poems. Si Kongtu's Ji Pu quoted Dai Xulun as saying: "Poets are the best, for example, the sky is getting warmer and warmer, and good jade produces smoke, which cannot be expected but not arrived. "4. It is also called" near but not vulgar, far and inexhaustible, and then it can be said that it goes beyond rhyme "5. Si Kongtu inherited Zhuangzi and put forward the poetic theory of "transcending the image and getting the ring", which advocated "without a word, you get the romantic feeling" and "transcending the taste" as "beauty";

There are many metaphors in ancient and modern China and abroad, but fools think that you can distinguish taste from poetry. To the south of Jiangling, anyone who is full of palatability, if acyl, not acid, stops at acid; If it's too salty, it's only Yuxian. Those who stop to eat know that it is salty and sour, but those who are mellow and beautiful lack ears. ..... alas! Close but not floating, far and endless, and then you can speak beyond rhyme. six

Si Kongtu studied the meaning beyond rhyme from the aesthetic point of view, with outstanding views, which were imitated by later scholars. Su Shi has a poem saying: "If you want to make poetry beautiful, it will be empty;" Silent, moving, empty, so it is boundless. "7. Affirm the infinite implication of blank. Even more, Yan Yu's "Cang Hua" said it best: "In the prosperous Tang Dynasty, the princes were only interested, and the antelopes hung their horns, so there was no trace to be found, so their beauty was thorough and exquisite, and they could not be combined, such as the voice in the air, the color in the phase, the moon in the water and the image in the mirror." 8 "Quotations from Man Zhai" said: "Poetry is implicit and good. The ancients were vigorous, which was implicit. There are many intentions, and the next three points are ridiculous; Six points in Chinese, you can chase Du Li; The next ten words are also works of the late Tang Dynasty. It is difficult for this poet to use profound language and plain language. "Here, there are blank and uncertain criteria for using several products to evaluate poetry. Wang Jide once talked about chanting things in traditional Chinese opera creation, and thought that "it is not expensive to say style, but expensive to say and use". Buddhism's so-called never giving up is a phase difference. It's wonderful to write its charm outside the sacred cow, which makes people look like a beautiful mirror. Ming Che is in sight, but elusive.

1 zhong Rong: "preface to poetry", see "selected literary theories of China in previous dynasties", volume I, p. 309.

2 Liu Xie: "Wen Xin Diao Long Hidden Show".

3 Liu Xie: Wen Xin Diao Long Yin Xiu.

Si Kongtu: See Selected Literary Theories of China in Past Dynasties, Volume II, 20 1 page.

5 Si Kongtu: See Selected Literary Theories of China in Past Dynasties, Volume II, 20 1 page.

Si Kongtu: See Selected Literary Theories of China in Past Dynasties, Volume III, page 196.

7 Su Shi: "Sending a Teacher".

8 Yan Yu: Poems on Canglang, People's Literature Publishing House, Guo Shaoyu.

9 Wei Qingzhi: "Poet Yu Qiao" Volume 10, Classical Literature Publishing House.

Hands. Tang Xianzu, 1, also known as the poem "If there is something, there is nothing, and if there is nothing, it is beautiful". 2. The playwright also knows the beauty of uncertainty and blank. Wang Fuzhi said: "Ink and gas shoot, four tables are infinite, and there is no meaning." Jiang Baishi's poem: "Words are expensive and implicit. Dongpo cloud' incoherent, endless', the world is full of words. ..... Every sentence is wordless, the article is wordless, and those who are not good are also. Every sentence has a aftertaste, the article is meaningful, and people are good. " 4 Peng Ke also commented on poetry: "The reason why Gai Shi is a poet is that his spirit is beyond the image, the image is beyond the words, and the words are unexpected." From numerous discourses, we can see that although China ancient literary critics differ in specific terms, they all see the important feature of the blank and uncertainty of China literature without exception, and pay great attention to it, leaving a series of very profound insights. Mr. Zhu Guangqian made a profound summary of this in his early years: "Infinite meaning is expressed in words, so there are many meanings, which are self-evident." The beauty of literature lies not only in the infinity of words, but also in the infinity of meaning. In a broad sense, the beauty of a work of art lies not only in a small part that has been shown, especially in a large part of things that have not been shown but have infinite implications. This is the so-called wordless beauty in this paper. "Mr. Zhu Guangqian's Beauty Without Words profoundly summarizes the essential characteristics of literature and art: blank and unwritten.

At the same time, the aesthetics and criticism of China's ancient literature had a very intuitive empirical observation on the relationship between blank and uncertainty and readers (viewers, interpreters and critics). Shen Zongqi said in Painting on a Mustard Boat: "Trees and stones are amorphous, so you can decide when you put pen to paper. The situation is poor and I am deeply moved. The state changes at will, which means touching, turning around and achieving a wonderful situation. " 7. Da Zhongguang's "Painting Sasakawa" said: "It can be seen that business is bleak, and it seems that there is nothing. This is based on the change of intention, that is, Huang Zhu's miscellaneous steps, or works or origins, must be pursued outside the image. " Liu Xizai also said: "Don't tie a word, just want to make people complacent." Although these expositions have no complete scientific form, they are accurately described from an empirical point of view: there are countless gaps and uncertainties (there is no poverty in the situation), so the filling of them is also "infinite"; The "state" of this paper interacts (touches) with the viewer's intention, and finally reaches the aesthetic realm through a series of filling or concrete activities (turning around). Da Zhongguang's "as if nothing had happened" inherited China's traditional exposition of "intentionally or unintentionally" and expressed an uncertain connotation. Liu Xizai's "just want people to be complacent" refers to the call of this article to readers, who have realized that the blank of "not tying" must be filled by readers' active activities.

From the perspective of the development of aesthetics and ancient literary criticism, the blank and uncertainty are firstly manifested as the contradictory movement between words and meaning, emptiness and reality, expressiveness and concealment, and form and spirit, which is the beginning of feeling, the transformation of emptiness and reality, the implicit meaning and the wonderful melody. Secondly, compared with the aesthetic feeling of the receiver, it shows the guidance to social prosperity, the call to body odor, the treatment to epiphany and the creation of prosperity. As an intermediary mechanism to regulate behavior, it fills or concretizes the blank uncertain factors in this paper in reader participation. On the basis of their interaction, China's ancient literary theory formed a world of classical aesthetic significance with artistic conception as the main form, which showed the aesthetic essence of art and embodied the unique artistic grasp of China's poetic culture and philosophy.

Second, between virtual reality and hidden reality.

On the level of this paper, the first meaning of uncertainty and blank in China's ancient literary theory is fully manifested in a series of contradictory movements, such as word and meaning, form and spirit, emptiness and manifestation, emotion and scenery, meaning and Ming. In Qing Dynasty, Buyantu once talked about this "supreme way" of China's art;

What I call implicit display, not only for mountains and rivers, but also for everything in the world, has implicit display, positive display, hidden yin, external display and implicit image. One yin and one yang are called Tao. 10

1 Wang Jide: Melody.

2 Tang Xianzu: Preface to the Fourth Episode of Tang Yuming Wen Rulan.

3 Wang Fuzhi: Jiang Zhai Shi Hua, annotated by People's Literature Publishing House.

4 Jiang Kui: "Poems of Taoist Baishi", Zhonghua Book Company, He "Poems of Past Dynasties" Volume II.

5 Peng Ti: "Self-narration of Poetry", Qin Weitang's "Reading in Ming Dynasty" Volume 36.

⑥ Collected Works of Zhu Guangqian's Aesthetics, Volume II, p. 480.

7 For Shen Zongqi's Study on Painting on Mustard, see On Chinese Painting.

8 Da Zhongguang's Painting Sasakawa can be found in On Chinese Painting.

9 Liu Xizai's Outline of Art and Poetry.

10 Buyantu's Questions and Answers on Learning Painting Mind, see On the Classification of Chinese Painting.

This is a fundamental spirit of China's art. In China's ancient literary theory, the theory of "Bi Xing", the theory of imagery, the theory of form and spirit, the theory of characters, the theory of verve, the theory of interest, the theory of imagery and the theory of soul all contain this contradictory movement. It is through the contradictory movement of these opposing factors that the field of artistic expression has been greatly broadened and the unique development history of artistic forms has gradually developed. Uncertainty and meaning blank are one of the most essential categories and components of China's traditional art forms, which have achieved more complex, fuller and richer expressive force in the unity of opposites. It is concrete and freehand; It is both vivid and charming. It is certain and uncertain; It is direct and tacit; It is direct and indirect; Realistic and ethereal. All these contradictory movements are aimed at achieving higher and more ingenious performance through performance and non-performance, performance and non-performance, performance and anti-performance. Therefore, it not only has the directness, certainty and sensibility of concrete image, but also has the fluidity, openness and productivity of imagination. Its realistic part is presented as "scenery", "environment" and "image" in this paper, which is an intuitive existence with realistic brushwork and natural beauty. In this paper, these intuitive existence sets a tortuous path or contains a kind of potential energy, which leads readers to the artistic virtual environment that is still empty, in a vague state and has been reconstructed by perceptual abstraction: entering "spirit" into "meaning", seeking emptiness with reality, swimming with charm and conveying with humor. This is the uncertain part of the work, blank and empty, which needs readers to be realistic and concrete. Is the so-called "what words don't pursue, pen solid Zhi Zhi" part, is the "cover wheel can't say is flat, also is not China words can be refined" part. "Four Xu Xu Xu Xu" says: "It's hard to turn a scene into a feeling by taking the virtual as the virtual and the real as the virtual. From beginning to end, such as flowing water. Otherwise it will be barren and vulgar, but it is not enough. " 1 that is to say, it is impossible to achieve emptiness by taking emptiness as emptiness, and only by seeking emptiness with reality can we achieve the perfection of art. China's ancient art highly publicized the blank and uncertainty, which was the praise of non-expression, non-expression and anti-expression, and was the opposite poles of all expression techniques. Because all non-performance, non-performance or anti-performance are based on the forms, skills, means and methods of performance as the premise of interdependence. Bao Hui of the Song Dynasty said: "Poetry has both surface and depth. People can directly see the surface, so who can see the depth inside?" ! The flowers are full of glory, and the dew is exposed. The glory is on the surface, but there is no shallowness left inside. If it means charm and moral, it is hidden in the room, but its appearance is cold and there is no external decoration, it is also profound. However, shallow people tend to admire more rhymes, while deep people have less addiction. Why? Know flowers and poems. "The opposition between expression and non-expression constitutes the way of existence of artistic expression. The forms vary in thousands ways, one in ten thousand, extremely gorgeous and plain. In this sense, blank and uncertainty are the acme of artistic forms and techniques.

The blank and uncertainty in China's ancient art is the historical achievement of the development of China's art form. For example, from the perspective of the history of landscape painting, it is an inevitable historical development process from realism to admiration, from which we can also see the trend that uncertainty and meaning blank are getting deeper and wider.

If Chinese painting is artistic and good at using space, it was not until Ma Yuan and Xia Gui in the Southern Song Dynasty that they began to work hard on "space", which greatly expanded the performance effect of space art, with vivid momentum and ethereal realm, which was unprecedented. Compared with Ma and Xia, it seems that the exile from Bianjing in the Northern Song Dynasty to Lin 'an in the Southern Song Dynasty has not yet realized vanity. His "Flowers of Wei" and "Flowers of Peace", especially the latter, can not help but give people a sense of congestion. By the time of Ni Zan (Yunlin) in the Yuan Dynasty and Hong Ren (Jianjiang) in the early Qing Dynasty, although his style was different from that of Ma and Xia, he could also "lose his mind" and use pen endlessly, which was far-reaching and far-reaching. In fact, their style at this time has sublated the artistic style of their predecessors. On a higher basis, they merged their predecessors and brought forth the new, forming artistic features that are both profound and superficial. The "returning to emptiness" of Si Kongtu shows the negative characteristics of this form's own development.

So is the development of literature. After the highly developed practice of poetry creation in the Tang Dynasty, readers increasingly entered the author's creative vision, so in the development of art forms, blank and uncertainty increasingly entered aesthetic activities as important attributes, important means and skills of art. As literary theorists and critics, Si Kongtu and Yan Yu summarized the literary phenomena of that era, and only then did they have a comprehensive summary of "nothing to say, everything is romantic" and "endless words and endless meanings". From the bad form and extreme appearance, the work of carving and painting (such as Han Fu) to the realization of "nothing is bad forever" 3, not only the historical evolution of the whole art form, but also it happened to everyone in every era.

The dynamic realization of blank and uncertainty in this paper is based on the suggestive function of language, which we call "the spread of western learning to the east"

1, see Fan's Sleeping Night Talk, Volume II, and See Continuation of Poems in Past Dynasties.

2 Bao Hui's "tasteless draft after Xu Zhiyuan", see China ancient aesthetics series (I), the first 15 1 page.

3 Yuan Mei's "Continued Poems, Empty Lines", see "Kokura Shanju Poetics" Volume 20, the book is four.

Shake the east "1. Ming Lu Shi Yong said: "Poetry does not suffer from silence, but from poor words. Poetry does not suffer from no scenery, but from the trouble of scenery. " "Good lover.

Throw it in and out, show it if you want, hide it if you want, and it feels infinite. Liu Xizai in Qing Dynasty realized more clearly that the blank and uncertainty were not "silent" but "silent": "The beauty of words lies in silence, not in silence, but in sending messages. If you send it deeper than shallow, thicker than light, stronger than graceful, straight than curved, true to empty, just right. " The message here is to use the functions of polysemy reference and implied metaphor of language to refer to something out of nothing and something out of nothing, so as to achieve that and "make an idea" in it, which is the fundamental nature of literary language formed in the long-term development.

French literary critic Mikel Dufrenne once made a brief classification of language from the perspective of semiotics:

The center of classification is the field of linguistics, and language is the best occasion for meaning. People can define it as follows: it enables us to transmit information with code; In a language, information and code are interdependent and equal. Outside the central government, there are two extremes; At one end is the field of sub-linguistics, which includes all systems that have not yet made sense. Of course, there are signifiers, symbols or signals, but they are still to be distinguished and not well understood. There is a code, but no information; Meaning is reduced to a message. At the other end is the field of super-linguistics. In this field, the system is super meaningful. They allow us to convey information, but there is no code, or the less strict the code is, the more vague the information is. Meaning then becomes expression. Of course, these three levels are not completely separated. The overall meaning is the same, which can be extended to these three levels, but the key point is one of them. In our opinion, art seems to be the best representative of super linguistics. four

?

Mikel Dufrenne's classification is very instructive for us to understand the tradition of giving full play to the function of language suggestion through blanks and uncertainties in China's ancient literary theory. He revealed the characteristics of artistic language as a super-linguistic system-super-semantics. Different from the concept of explicit direct reference in practical language, language in literature has both literal meaning (surface meaning) and pragmatic meaning (deep meaning) produced by literal meaning. For example, Xie Zhen said in "Four Poems" that "there is intention before resignation and intention after resignation". "Intention" and "implication" are references beyond the original meaning.

The artistic virtual environment with blank and uncertainty has the following characteristics in reading reproduction:

One is the image outside the image, and the scene outside the scene has indirect and uncertain concreteness. The so-called "hazy and lovely, chaotic and pure" is also true. Because to arouse the artistic beauty of this realm, readers' aesthetic imagination must be aroused, which is realized through image movement. Therefore, this kind of image outside the image includes all kinds of reproduced images and created images (images outside the image) related to the real images in the works. Because there is no verifiable standard or unique template, and because of the participation and adjustment of current readers' intentions, the created images in this virtual environment have the characteristics of arbitrariness, looseness and productivity to some extent. The reappearance image focuses more on the acceptance, transformation and reproduction of the information in the text, which is passive, directional and organized. The image outside the image and the scene outside the scene in the artistic virtual environment are the harmonious qualities of the reproducible image and the creative image. This paper only shows the first image in the "image outside the image", so the appearance of the second image in the "image outside the image" inevitably shows the characteristics of indirectness and fuzziness. It is precisely because of the creativity of its image that the intuition and subconsciousness in the receiver's aesthetic feeling are fully tapped. At the same time, due to the reappearance of images, it is manifested in the infiltration and deposition of rationality to sensibility. Therefore, this kind of image outside the image, the scene outside the scene, is "to be virtual and real, to be far and near", which has a richer connotation. Secondly, because of the fuzziness, generality, fluidity and uncertainty of the artistic virtual environment, "implied meaning" and "implied meaning" show the great capacity and plasticity of resorting to imagination. Mr. Zong Baihua said: "With virtual images, images are endless." This is also the imaginative operation mode of "image business image" I mentioned before. Imagine that this kind of image movement is extremely flexible and has great freedom. It shows infinite vastness in creative images and considerable accuracy in reproduced images. Therefore, interest, atmosphere, and association are often fluid, seemingly certain but uncertain. In particular, the realistic orientation in this paper, in order to ensure the capacity caused by extra rhymes, is often expressed in a very subtle, implicit and tortuous form, which is neither inseparable nor ambiguous, nor sticky, so the implied meaning presented in imagination is bound to show fuzziness, generality and ambiguity. At this time, "the meaning is beyond the taste" and "the sound is beyond the string" can't be exhausted and explained simply by concepts, so that "the secret sound bypasses and hides the hidden hair", "the meaning is boundless, the thought is subtle" and "it will be in the heart"

1 Yuan Mei's "Poem Continuation, Empty Line", see "Poems of Kokura Mountain Residence", Volume 20, Part 4.

(2) Lu Shiyong's "General Theory of Poetry Mirror", see "Continued Poems in Past Dynasties".

Liu Xizai: Introduction to Art, Ci and Qu, Shanghai Ancient Books Publishing House.

4 Mikel Dufrenne; Aesthetics and philosophy, page 79.

It is difficult to describe ",and because of its intuitive instantaneous understanding and unrestrained emotional flow, the work presents a complex situation that" it is pinned between words, and its reference involves the encounter between solvable and insoluble ".

It's like going back, hiding like a bandit. The meaning is endless and wonderful.

Third, the taste of Huai.

The second meaning of blank and uncertainty points to the aesthetic feeling of the receiver. It fully embodies the phenomenological perception of China literature and attaches great importance to readers. From creation to appreciation, it is equally important in literary ontology. At the same time, in China literature, literature has always been a process, an interactive activity of "history-reality-works-readers-society-life", which is what westerners call an "event".

In the long-term development of its own form, China ancient art has formed a set of artistic features and ideographic systems with blank and uncertain meanings, which are composed of implication, suggestion, pun, sustenance, irony, metaphor, suggestion and even symbol. Correspondingly, a set of artistic perception methods such as bosom friend, body odor, epiphany, arousing society and arousing images have also been formed. This is an aesthetic perception way that is absolutely different from western and contemporary epistemology reflection theory, and it is an intuitive perception way similar to western contemporary phenomenology. This way of feeling requires extremely high perception ability of blank and uncertainty in art, and there are "those who know sound but don't know it, animals are also" in the notes; "If you don't know the sound, you can't talk to the sound. If you don't know the sound, you can't talk to the music. Knowing a friend is more than courtesy "1 Emphasize" hearing the sound and knowing the sound ",otherwise you are not qualified to appreciate art ... This level of blank and uncertainty is full of this positive reader consciousness and call. Zhong Ziqi, who is good at listening to the piano and appreciating it, and Sion, who knows the lofty aspirations of Boya's Mountains and Waters. Therefore, in his "Love is like a gift, happiness is like an answer", the creator first implies a kind of "reader" in the text.

Contemporary mechanical materialism and vulgar sociology regard works as objective objects, and reading literature as learning mathematical or physical formulas, exploring things and opening doors to win treasures. It just ignores the essential feature that literature itself is full of blank and uncertainty, and ignores the artistic perception corresponding to blank. China's phenomenological pursuit of literary perception echoes each other, pursuing participation and induction, and pursuing singing and communication with works. Liu Xie pointed out in Wen Xin Diao Long Yin Zhi:

If a husband only has a deep understanding of the Olympics, he will observe guilt; For example, the vernal equinox attracts many people, and the bait no longer passes by. Gaiwenlan is a national fragrance, and she is charming and fragrant; Books are also national, and fun is beautiful. A confidant is a gentleman. 2

Obviously, if a lot of imperfections are created in this paper, it will produce a psychological potential energy pointing to the whole. If the author designs a nine-curve secluded path in the article, it will itself induce readers to explore the mysterious. In art, the implicit description that has not reached the peak is chosen to achieve the peak reading effect. However, whether it can be realized depends on the extent to which the receiver "activates" the aesthetic elements in this paper and fills the gaps and uncertainties in the calling structure of this paper. Marx pointed out: "from the main point of view, only music can arouse people's sense of music;" The most beautiful music is meaningless, not an object. Because my object can only be the confirmation of my essential strength, that is to say, it can only exist for me as my essential strength as a subjective ability, because any object to me (it is only meaningful to the feeling that is suitable for it) is limited to the extent that my feeling can reach. "That is to say, it is precisely because of the existence and call of uncertainty and meaning blank in art form that the corresponding artistic feeling of the subject is aroused and generated. Without the isomorphic correspondence between feeling and literary form, the most attractive artistic blank can only be a real blank, which can never be filled.

The aesthetic perception of China literature caused by blank and uncertainty is unique, which is the so-called "oriental way" of appreciation and epiphany. This is a kind of Chinese-style aesthetic experience, which is different from the "freehand brushwork" method created in this paper.

1 The Book of Rites, see Selected Literary Theories of China in Past Dynasties, Volume I, page 6 1.

2' Rites and Music', see' Selected Literary Theories of China in Past Dynasties', Volume I, Page 6/kloc-0.

3 Liu Xie: Wen Xin Diao Long bosom friend.

Methods of reading and appreciating works. Si Kongtu said in "On Poetry with Li Sheng": "Fools think you can distinguish between interest and poetry." The so-called "taste discrimination" refers to the receiver's ability to taste, grasp, ponder and comprehend the realization of "meaning beyond rhyme" and "meaning beyond taste". The world of "the image outside the image" and "the scene outside the scene" is so vast, broad and profound. Anyone who gets the blank essence of China's literature and has a wonderful tune has the privilege of exquisite octupole and vertical and horizontal association, and "caresses the sound of mysterious festivals and speaks eloquently". Yan Yu advocated "Miao Wu" in Cang Shi Lang Hua. He said:

Generally speaking, Zen is only in wonderful enlightenment, and poetry is also in wonderful enlightenment. Moreover, Meng Xiangyang's academic ability is far less than Han tui's, but his poems are above Han tui's, blindly understanding the old. Only understanding is the right thing to do, but it is the true color. 1

Yan Yu explained that there should be a unique experience and understanding in the creation and appreciation of poetry, and only in this way can it be "true" and "appropriate". What are "true colors" and "being a good person"? In other words, this wonderful way of understanding has the ontological characteristics of literature, which is the foundation of China literature as China literature. Yan Yu believes that poetry is different from academic theory in terms of "unique materials" and "unique tastes". It doesn't care about the road, says nothing, and has no trace. Therefore, reading acceptance can only be satirized sooner or later, and it will be learned naturally after a long time. Western phenomenologists try their best to "hold up" and "suspend" nature in order to achieve the so-called phenomenological reduction. Parentheses themselves make things lose the distinction between true and false in the view of nature and the difference between imaginary objects and factual objects. But in the end, I fell into the western Logocentrism. Only the way of understanding of China people can truly achieve some kind of "reduction". No wonder Heidegger said that many of his works would not have to be written if he had read Zen Enlightenment in the East earlier.

The further development of the way of understanding is to further expand the initiative of readers to play, taste, fill gaps and unwritten. Wang Fuzhi has made important progress in this respect. He pointed out:

The author thinks so, and the readers are also complacent. Therefore, Guanju is also popular; Yan Chao, King Kang, that's an ice guide. "I am determined by my fate, and I am telling you far away", I also watch; Xie An's admiration increased his farsightedness. The journey of human feelings is endless, each has its own feelings, and you with poetry are precious. three

In other words, different recipients have many differences in the concretization of its meaning, which reflects the richness of artistic effects. Because the receiver's temperament, mood and psychological function are different. The intersection of the receiver's "meeting with his own feelings" and the work is bound to be different, and the point and face of the * * * sound produced are bound to be different. In Wang Fuzhi's view, the reader's acceptance is an active and dynamic aesthetic activity, and it is a process of seeking * * * vibration in his works at the frequency of his own mind. Tan Xian's proposition is relatively straightforward: "The author's intention is not inevitable, so is the reader's intention". This kind of "why not do it" pays more attention to the creativity, initiative and autonomy of acceptance and perception than Wang Fuzhi's "full of ambition"

Different from the western criticism that the subject and object, the creative process and the acceptance process are completely separated, China's blank and uncertain artistic thinking seamlessly combines the subject and object, the creative process and the appreciation process. Literature becomes a complete aesthetic experience process and an organic activity of life or life form. Because of the cognitive model of Logocentrism and the invasion of scientific paradigm to humanities in the hegemonic era of scientism, western literature can not reach the perfect realm of the beauty of oriental art judgment. This oriental style was formed in a certain language in a certain period of human existence, but it is an artistic mode that future generations can never reach.

Fourth, aesthetic muddy realm.

The third meaning of blank and uncertainty is based on the construction activities of this article and readers, which reflects the examination of art.

1 Si Kongtu: On Poetry with Li Sheng

2 Yan Yu: "Cang Hua".

3 Yan Yu: "Cang Hua".

4 Wang Fuzhi: "Jiang Zhai Shi Hua" Volume II.

The essence of beauty. It is the overall meaning beyond verse that readers get in reading practice, and it is the highest aesthetic realm where the aesthetic emotion of aesthetic objects lies. This is the highest and biggest blank in literature and the mire of aesthetics.

As mentioned earlier, China's ancient literary theory's exposition of this aesthetic realm is penetrating and profound. Wang Shizhen said in Notes on Xiangzu: "I have experienced Hao Jing's view of mountains and rivers and the poet's samadhi. He said,' Far people have no eyes, far water has no waves, and far mountains have no wrinkles'. The Book of the New Tang Dynasty, like Xu Daoning's landscape view today, is a real painting. Historical records, such as Guo Zhongshu's "Several Tianfeng Maps", are a little pen and ink, but convincing is beyond pen and ink. The language in Wang You Mu's Wild Guest Series is full of poetry and prose, which is often used to express the so-called "nothing is romantic." 1 He also talked about Nanzong's painting theory in Volume VII of Silkworm Tail Collection and Preface to Zhi Li Collection, and then said, "Painting is not independent, but it is the way to get rid of it in ancient and modern times." Here, he classified Samadhi as "beyond pen and ink" and "without a word, it is romantic". Obviously, he doesn't talk about the technical significance or regulating function of blank and uncertainty, but directly regards blank and uncertainty as the fundamental meaning of the poet's samadhi, that is, poetry is poetry.

Wang Guowei commented on the word "Ci Hua on Earth" in this way: "The style of ancient and modern poets is as high as white stone, and they barely exert themselves in artistic conception. So they feel that there is no meaning and they can't compare with first-class writers. " Here, Wang Guowei also measures whether he can achieve first-class creation with or without implication, emphasizing the third meaning of uncertainty and blank.

Needless to say, China's ancient literature summarized its highest state as "beyond the image, getting the ring", pursuing endless taste and meaning. This kind of "taste is beyond taste" and "rhyme is unexpected" is the blank and uncertain meaning in the highest aesthetic essence, and its final overall composition is artistic conception. In this sense, I call it "artistic conception blank".

The core of China's poetic culture is artistic conception. Although its name comes from the "realm" theory of Buddhist philosophy, its spirit is the fusion of traditional sources of China culture such as Confucianism, Buddhism and Taoism. After the Tang Dynasty, especially under the influence of Zen Buddhism, he devoted himself to poetics with a natural poetic outlook on life, which triggered a spiritual direction of gradual internal examination and beautification of artistic ontology, while maintaining a harmonious and muddy view of natural life culture. In the development and integration of artistic conception, Wang Changling's theory of "poetry has three realms" began to lay the foundation: "material realm", "realm" and "artistic conception", which are not only different levels of poetry.