Traditional Culture Encyclopedia - Traditional festivals - On literati painting [on the philosophical thought of literati painting]
On literati painting [on the philosophical thought of literati painting]
Keywords: aesthetic thought, philosophy of literati painting
First, the early development of literati painting.
China's "literati painting" was formed by history. Its germination, development, maturity and evolution are closely related to the literati class in China. Of course, literati painters consciously advocate "literati painting" and demand to reflect their own class's life, literacy and aesthetic standards, which is something after literati painting matures. At this time, not only a number of influential literati painters such as Su Shi, Mi Fei and Zhong Ren appeared, but also their creative themes expanded from ink landscape to plum, orchid, bamboo and chrysanthemum. The artistic image has developed from the true pictographic image to the graceful expression of the image: the artistic expression means has developed from the true "deleting the complex and simplifying the object image" to the freehand brushwork of "mountains and valleys in the chest and bamboo in the chest"; At the same time, in terms of artistic thought, he also put forward some ideas that are suitable for the life, thought, cultivation and kindness of the literati class, such as "painting to my liking" and "discussing painting to be similar and seeing children". Poetry and painting are unified, ingenious and fresh. The further development of this theory is that Deng Chun in the Southern Song Dynasty put forward that "painters have great culture". However, literati painting experienced a long process before it matured. The literati painting in this period not only has the characteristics of the embryonic period, but also comes down in one continuous line with the later literati painting. The appearance of literati painting can be traced back to Liu and Song Dynasties. However, the idea of literati painting had sprouted before Liu Song. At first, the artistic thought of literati painting was only reflected in individual views, and then gradually formed a painting style and systematic painting thought. From the origin, from the Tang and Five Dynasties to the early Northern Song Dynasty, literati painting was close to maturity. The germination and development of early literati painting not only created and developed landscape painting with pure scenery as the main theme, but also gradually made ink landscape become the mainstream of painting alongside figures, flowers and birds. It established the position of ink and wash landscape painting in the history of China painting. In the process of exploring the truth of nature and images, the experience of going deep into life, observing nature, refining images and completing ideological and artistic expression is summarized. The germination of intentional landscape painting creation method based on "painting truth" and "learning from heart" has opened up the performance field of landscape painting from another side. Due to the establishment and continuous improvement of the form of ink painting, it enriches the expression techniques of Chinese painting modeling, makes ink painting an important means to strengthen artistic expression, and lays the foundation for later literati paintings to create pen and ink forms with aesthetic characteristics.
Second, the philosophical basis of literati painting
Laozi and Zhuangzi's outlook on life and ideal of doing things not only directly influenced the emergence of "literati painting", but also was the ideological source of "literati painting". Laozi's philosophy of life is not enterprising, but advocates passive waiting or even retrogression. This is consistent with his core idea-"nature". According to Laozi's request, human behavior should also be combined with "nature". He thinks that a person should "Ming Dow is ignorant, if he flinches, if he is ignorant, if he is ignorant. Going to Germany will be humiliating, and Guangde is insufficient. " Only "insufficient" can "surplus". He doesn't advocate pushing things by force. The best way is to wait. In his view, advance and retreat are the same, because the law of Tao is "circulation", which is what Zhuangzi said. Laozi and Zhuangzi, who took "hiding in the unknown" as their responsibility, had a far-reaching influence on the frustrated literati who sought spiritual liberation in later generations, providing them with an ideal way to escape from the world and live in seclusion.
The psychological construction of literati painters is often in the conflict and integration between entering the WTO and being born. Most ancient literati pursued fame through the imperial examination, and the Confucian thought of entering the WTO was the ultimate embodiment of the life value of China intellectuals. However, the external positive attitude towards life is often incompatible with the real world, and the "grandeur" of joining the WTO and the "indifference" of being born stir the complex psychology of the literati in different situations. The pain that ambition and ideal can't be displayed is internalized into boredom of officialdom and pursuit of leisure life, and even hermits who pursue tranquility and far-reaching seek to get rid of mountains and rivers and return to themselves in artistic creation. At this time, "literati painting" has just become a cultural product of traditional literati expressing their feelings and pursuing spiritual sustenance, satisfying the spiritual desire of intellectuals who are entangled in secular life to express their feelings about mountains and rivers and entrust things. Rujia attaches importance to quality in artistic view, pursues the aesthetic principle of "Dan, several beauties, taking a simple car, respecting its simplicity and emphasizing its quality" and opposes the wind of carving. The appearance of literati painting, especially literati landscape painting, is of course out of the aesthetic feeling of traveling around the mountains and aiming at "cultivating the mind and nourishing the nature", but it was not accidental that it came into being during the Jin and Song Dynasties when Laozi and Zhuangzi thought and metaphysics flourished. Because metaphysicians have their own unique requirements for painting, images express thoughts, and with the help of landscape images, they express a subjective spirit and thoughts, that is, as a medium to express invisible Tao. "Tao doesn't violate nature, but it is natural", and the nature of "Tao" is nature. "Heaven and earth are left to nature, created by doing nothing, and everything is autonomous" ("Notes to Laozi's Five Chapters"). To embody this "autonomy" and "the way of nature", it is more appropriate to express it with mountains and rivers. According to the idea of "the principle of nature, there is something to send", tangible landscapes or flowers, birds, insects and fish are taken as things to express the spiritual realm associated with the intangible Hyunri.
In the era of social decay, "seclusion" has basically become a political or social retreat, and art, especially Chinese painting, has achieved the greatest development during this period. Zen understands painting, and painting is like practicing Zen. The idea of "literati painting" is also deeply inspired by Zen, which directly expresses the core idea of Zen-the transcendence of life and the purity of the world. Scholars regard meditation, painting and writing poetry as an elegant way of life. They combined the interest of Buddhism and Zen with the creation of traditional literati paintings in China, and finally formed unique and far-reaching Zen paintings. His works can not only stimulate the senses, make the creative subject and painter happy, but also make people think and enlighten their wisdom in connotation. It has reached the highest level required by the theory of "literati painting".
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