The relationship between artistic mood and artistic typical

Whenever you appreciate the Louvre "three treasures", one of the Italian Renaissance art of the three great masters - Da? Finch's masterpiece "Mona Lisa", we are simply as if in the realm of the call: days of the mysterious smile, or that pair of tender hands, are portrayed so vividly realistic, accurate and full. Whenever observing the classic painting "Luoshen Fu" by Gu Kai Zhi, the first of the "Three Masters of Wei and Jin" and "Four Ancestors of Painting" in the history of Chinese art, we seem to be able to only visualize, but not to convey: "as stunning as a flower, as graceful as a swimming dragon! ";" as if Ruoxi light clouds of the moon, floating Ruoxi flow of the wind back to the snow "(Cao Zhi" Luoshen Fu ") - this is the East and West in the art of the typical and the mood of the divide.

Typical focuses on the beauty of a subtle resemblance

The so-called typical typical character, typical image or typical character, refers to the artist with the typicalization method to create a distinctive and unique personality and can reflect certain aspects of the nature of society, the expression of human attributes of the artistic image. As Engels pointed out, in order to really shape the typical, it is necessary to "realistically reproduce the typical character in the typical environment."

The creation and success of "Mona Lisa" embodies the principle of typicality. According to historical records, the prototype of "Mona Lisa" was the wife of the famous Florentine banker Zogondo. This is a proud and somewhat introverted lady. (It is said that she had just lost her beloved daughter). In order to arouse her heartfelt feelings, Da Vinci asked a pianist and a clown to play and perform for her for three years. Finally, one day, she aroused great interest and smiled from the bottom of her heart. Leonardo da Vinci captured it immediately. Leonardo da Vinci immediately captured it and successfully portrayed her, thus creating an idealized "classic" that celebrates the loveliness of life, the awakening of humanity, and the philosophy of humanism.

It can be seen from this that the typical character image in a work of art is created by the artist from the real life and artistic reality, in a large number of life materials for discovery, generalization, processing, and fictionalization. This requires a specific image, details, in a nutshell: the typical pursuit of more "similar".

The second mood focuses on a kind of hidden and obvious beauty

The so-called mood is a realm where the picture of life depicted in a work of art and the thoughts and feelings expressed in it merge into a realm that allows the appreciator to be infected in his thoughts through imagination and association. Excellent literature and art can often make the feelings and scenery, meaning and realm together, shaping vivid and vivid artistic image, and produce a strong infectious force. Context is a key category of classical Chinese art theory, a realm to which traditional Chinese art aspires. Contrary to Western traditional art, which mainly pursues "resemblance", most of Chinese traditional art aspires to "divine resemblance". The earliest person to clearly put forward the concept of "Transfiguration" and systematically discuss it in the field of painting was Gu Kaizhi, a great painter of the Eastern Jin Dynasty. "Gu Changkang (Kai Zhi) painted people, or for several years without pointing his eyes. People ask why, Gu said: 'four body Yan Chi (beauty and ugliness), this is not about the wonderful. Transmission of God writing license, is in the A plug (this).'" (Southern Dynasty Liu Yiqing "Shishu Xinyi? The art of skill") He is even more clearly stated in the "on painting": "Where painting, people are the most difficult, the next landscape, the next dog and horse, the table must be ware ear, difficult to become and easy to good, do not wait to think about the wonderful also."

The Luoshen Fu is the classic display of Gu's "form to convey the spirit" and "think of the wonderful". Cao Zhi was in love with Zhen, but she was taken away by his brother Cao Pi at the decision of his father, Cao Cao. Zhen's love for Cao Cao is lost to his brother, Cao Pi, and Zhen dies a horrible death without a secure love. To add insult to injury, Cao Pi gave Cao Zhi the jade and gold belt pillow she had left behind. When returning to his fiefdom and passing through the Luo River, Cao Zhi dreamed that Zhen came to meet him in secret, so he composed the "Sense of Zhen Fugu" (感甄赋), which symbolized his lover through the moving image of the drowned Fuxi's daughter, the goddess of Luo, in the legend. In the end, it was renamed Luo Shen Fu by Cao Rui, the son of Cao Pi and Zhen, the Ming Emperor of Wei. How could Gu Kai not be touched by the twists and turns of such a sad and joyful love story? To be interpreted to the fullest extent in the limited painting, it is really not "mood" of the best: the scroll from "stunning" to "Chen love" and then to "die! ", not only will the Luo Shen that "turn your eyes and flow essence, light and jade face, containing words not yet spit, gas like orchids" Chu Chu style and Cao Zhi that "disappointment and can not go" (Cao Zhi, "Luoshen Fugue") the disappointment of God is portrayed in detail; and the whole picture with mountains, mountains, and the mountains, and the mountains, and the mountains, and the mountains, and the mountains, and the mountains, and the mountains, and the mountains, and the mountains, and the mountains and the mountains. And the whole picture with mountains, streams, forests as the background of the first and last, not only make the painting space cleverly extended and transformed, but also baked clouds and the moon, the scenery expresses emotion, extremely natural to promote the development of the whole poetic plot.

It can be seen that the mood is a work of art in a scenario, the real and imaginary realm, is the organic unity of subjective and objective factors in art. Context both from the artist's subjective "feelings", but also from the objective reality of the sublimation of the "situation"; "feelings" and "situation" organically integrated together. The "emotion" and "situation" are organically fused together: there is emotion in the situation, and there is situation in the emotion.

Three Typical and context is human art has the same beauty

Of course, the gentleman and different. Typical and mood is also the unity of contradiction, just focus on different. Because after all, they are both different from each other, but also have a connection --

First of all, they are the aesthetic subject (artist) and the aesthetic object (the beauty of life, including natural beauty and social beauty) intertwined by the subject of the creation of the "artistic image": both concrete and tangible figurative. There are both concrete and palpable image, and generalization of ideological significance. Whether it is the sculpture of ancient Greek figures, or the Chinese "Three Friends" and "Four Gentlemen of the Flower", they are the perfect fusion of subject and object in that era - the unity of personality and ****ness, the unity of sensibility and rationality. The unity of sensibility and rationality, the unity of thought and emotion.

Secondly, as outstanding artistic images, they all have soulful "artistic meaning". They not only represent certain people and things, feelings and reason, but also contains a deeper philosophy of life or the essence of thought, with multiple meanings or uncertainty. For example, the first of the six great sculptors of ancient Greece - Milon's "discus thrower", from the surface, this is a competitive state in the state of the athlete, the lead, but not the athlete: bending and twisting, the right leg is bent, the left foot pointing to the ground; the left hand is down, the right arm swings to the outbreak of the highest point. However, it is this static moment, so that the observer in the gaze of health, strength, beauty, momentum, sense of the past and the future, life and passion, struggle and success ...... as the so-called "a thousand readers have a thousand Hamlets". Infinite artistic meaning, so that this overflowing humanist spirit of the work of art beyond the time, almost become one of the symbols of the Olympic Games publicity.

Another example is Zheng Xie's Orchids and Bamboos, a work by the wizard of the Eight Monsters of Yangzhou, in which the sloping cliffs of half the canvas are set against several clumps of orchids and a few bamboo arrows. These are obviously not only the creation of the ordinary scenery, but also a symbol of personification: "drink cattle four elder brother, its strong as bamboo, its clear as orchids, its hard as stone ......" read the picture inscription, can not help but suddenly realized. No wonder Zheng Banqiao indoor planting orchids, outside the courtyard planting bamboo, and even on business trips without bamboo sleep. Associated with his theory of painting: from the "eyes of the bamboo" to the "chest of the bamboo" to the "hands of the bamboo" (i.e., the painting of the bamboo), it is not precisely from his life, higher than life, and diligently seek to Artistic image and the meaning of the reflection, God?

Four Typical and context in certain conditions can draw on each other, absorbed

From a historical perspective, typical and context in the East and West in the practice of art is not absolutely divided. Of course, our traditional scholarly painting (literati painting) advocates "pictorial", but there are also focus on "brushwork", the pursuit of realistic court painting, secular painting. Even the Mona Lisa, which is a "typical" painting, has never been seen by anyone, so how can we be sure of its realism? The reason why people lingered and marveled at it was precisely the "look" of her smile (which has even become a mystery that has been debated for centuries). Isn't that a bit of a "portrait of God"?

With the exchange of art between the East and the West, the typical and the mood are also to some extent borrowed from each other, absorbed. For example, in the second half of the 19th century, the Post-Impressionists were influenced by Oriental art, and their works often pursued "meaningful form". Whether it is Van Gogh's works that contain the passionate Gao's "Sunflowers" which contains strong emotions, or Gao Geng's childish and philosophical paintings "Where do we come from? Who are we? Where are we going? and even the modernist art schools (such as primitivism, symbolism, fauvism, cubism, futurism, expressionism, surrealism, etc.), almost all of them are fully elaborating and expressing the "meaningful form".

Another example is the contemporary painter Luo Zhongli's "Father", created in 1980, which draws on the method of super-realism (also known as photorealism) popular in the West in the 1960s and 1970s - in the form of a large oil painting, using a close-up composition, the old man's face is extremely finely drawn: cracked lips, wrinkled face, and the roughness of his hands, The cracked lips, wrinkles on his face, and the shoddy bowl in his hand are extremely realistic reproductions of a typical farmer who has lived through ten years of turmoil. The painting has a tragic shock, caused great social repercussions, known as "a mirror of Chinese society and history", won the second "China Youth Art Exhibition" first prize.

V Contemporary art advocates a globalized aesthetic communication

Since the 1980s, with the rapid advancement of contemporary science and technology, and the rapid development of computers and the Internet, mankind has entered a new era of information explosion. The earth has become smaller, the world has become bigger, and there are more frequent exchanges between countries and a constant collision of cultures and arts. Under the background of globalization, the aesthetic culture presents the trend of diversified mutual penetration and communication of different interests.

"The so-called pluralistic interpenetration refers to the fact that in the overall pattern of aesthetic culture, a variety of cultural elements cross-penetrate into specific texts, making it difficult to clearly distinguish between different cultural dimensions, such as the formation of a situation in which you are in me and you are in me." "The so-called heterogeneous communication, mainly refers to the aesthetic communication in the subject does not have to force the absolute individualization or absolute integration, but fully respect the diversity, in the diversity of the search for a certain degree of harmony, aesthetic communication activities to obtain a greater experience of space and cultural functions."

Chinese-American architect I.M. Pei's series of artistic practices are a fusion of the typical and contextual aesthetic characteristics of Eastern and Western art. For example, from 1983 to 1989, at the invitation of French President Francois Mitterrand, he presided over the expansion of the Louvre, a classic work of classicism: a transparent glass pyramid was added to the U-shaped two-winged complex, framed by geometrically shaped pools around it. Although the structure and details follow the basic principles of function and rationality of Western modernism, embodying the aesthetic elements of resemblance, realism and reproduction; however, in terms of mood, it also integrates the techniques of resemblance, writing and expression of Oriental art, and gives them a symbolic content - not only reproducing the shape of the tombs of the kings of Egypt 5000 years ago, but also eliminating the symbolism. The Louvre, but also eliminated the vicissitudes and the old sense of view; not only reflects the modernity of the building and fashion, but also with the rules and the main body of the Louvre to form a dialogue between ancient and modern, new and old; especially in the night lights, the Louvre, such as the return of the old as a child as a new, magical people into a crystal palace world ......

And as the 5 years ago died suddenly, contemporary "big vision" "big art" concept advocate (also our art adviser) Mr. Chen Yifei, his life's pursuit: whether it is pure art of painting, magazines, or practical art of advertising, clothing, and even comprehensive art of modeling, film and television, and so on. Whether it is pure art of painting and magazines, or practical art of advertisement and clothing, or even comprehensive art of modeling, film and television, all of them are searching for the perfect crystallization of the aesthetic elements of the East and the West, such as typicality and mood. As highly evaluated in the art feature film produced by the Shanghai cultural circles to commemorate the fifth anniversary of his death, "Double Bridges (Note: depicting the water town of Zhouzhuang, which was given to Deng Xiaoping as a gift during his visit to China by the world-famous art critic Hammer) was his first important work after he left China, marking a gradual shift in his creative work from traditional realism to romantic realism, which is a fusion of his personal poetic sentiments. Romantic Realism." "To be able to freely choose the theme of creation, express personal feelings, which is the previous Chinese realist painters can only dream of; and strict college training, delicate realistic style of painting, but also precisely the modern, post-modernist art wave in the United States under the art world of the lost. Chen Yifei's success lies in the perfect integration of the lost parts of the two cultures into his own creations, and he has thus gained an international status in art that has attracted the world's attention in a very short period of time."

Isn't the success of the 2008 Olympic Games in Beijing, China, also an example of the interpenetration of diversity and communication of different interests? (For example, the human-shaped "Beijing" Chinese seal-like emblem and symbolize the traditional "five elements", the five Olympic rings, the world's five continents mascots typical - Fuwa series, etc.)

The wonderful "World Expo" is being organized is the creative use of typical and mood and other aesthetic elements. For example, in the countdown to the 30th day, Shanghai Bund unprecedented creation of five continents at the same time, singing in unison with the German classical master Beethoven "Ode to Joy", the American rock and roll icon Jackson "family" and other classic evening to highlight the Chinese civilization and eclectic, the characteristics of the sea culture of elegance and popularity of the **** appreciation. This series of "typical" and "mood" blend of creative design, magnetically attracted more than 240 countries and international organizations to participate in the exhibition, and will continue to y attract the global love of art and civilization of people to China, gathered at the World Expo.

Six Conclusions

In short, as aesthetic categories, "typical" and "mood" actually have universal significance for all kinds of art. We not only need to understand their differences, but also to realize **** the same point - in the limited artistic image, reflecting the infinite artistic meaning: they are "familiar strangers"; they are "meaningful form They are all "familiar strangers"; they are all "meaningful forms"; they are all the fusion of scenery, emotion and reason, and the integration of truth, goodness and beauty. Only in this way, we can use the ancient for the modern, foreign for Chinese, integration, innovation, in the globalization of the art stage to create a newer, more, more rich in national characteristics of the artistic excellence.