The journey of beauty after reading

Post-reading, which can also be called book notes, is a commonly used applied genre and one of the genres of applied writing research. Simply put, it is the feeling after reading a book. The following is the course of beauty after reading, please refer to!

The Journey of Beauty After Reading 1

To borrow a passage from the back of the book to illustrate the book, this book is a classic of Chinese aesthetics, cohesion of the author, Mr. Li Zehou, many years of research. He put the Chinese people throughout the ages on the feeling of beauty exquisite show in front of everyone's eyes, such as the sensibility, such as the intimate.

I remember the CCTV "reading" program, there is an introduction to this book, then invited to the guest of honor there are two, one of them is Mr. Li Zehou's disciple, looks like it has been more than half a hundred years old, in the case of this book, the host, the other guest, no matter what section of the book, the person can be a large section of the back of the book, it is really amazing, can be seen from here on the impact of the book on this person! It's an amazing thing, and you can see the impact of this book on this person.

The book is called "The Course of Beauty", and it is about analyzing China from the perspective of aesthetics, from ancient times to the end of the Qing Dynasty, and various art categories. This is the first book I read on aesthetics, it is to help me sweep the blind about aesthetics, as if opening a window that has never been opened before, and saw a colorful, beautiful and rich garden that has never been seen before, and every piece of art in history is a flower or a tree inside the garden. The author is like a garden keeper, when we open the book, into the garden, the garden keeper, will do a serious guide for us, one by one to introduce us to the garden of flowers, birds, insects and animals, such as the family treasure. Just too many things inside, too rich, and I walked too fast this time, too hasty, did not savor the beauty of the inside, but when I walked through the garden, the body is still left with a little bit of flowers I brought out of the garden, refreshing, can not be forgotten for a long time. Next I will pick out a few to share with you.

1, the author analyzes, why the image of the dragon as a symbol of the Chinese nation is to snake body as the main body, accept the four legs of the beast, the horse's hair,? s tail, the deer's feet, the dog's claws, the fish's scales and whiskers, which may mean that the ancient Chinese clans and tribes dominated by the snake totem continued to overcome and integrate with the other clans and tribes, that is, the snake totem continued to merge with other totems gradually evolved into the dragon.

2, on the beauty, the author said, the reason why human aesthetic feeling is different from the animal sensory pleasure, is in which there are concepts, imaginative components. The reason why beauty is not a general form but a so-called meaningful form is that it is a natural form that has accumulated social content. Therefore, the beauty in the form and not that is the form, leaving the form (natural form) certainly no beauty, only form (natural form) is not beauty.

3, about history, history is never in the warmth of humane pastoral sound progress, on the contrary, it is often to mercilessly trample on the millions of corpses and advance.

4, on the bronze taotie, in that seemingly formidable intimidation of the mystery of the accumulation of a deep historical power, its mysterious horror is just with this unstoppable combination of enormous historical power, only to become the beauty of the sublime people here is really no position and power, there is a position of this mystification of the animal deformation, which intimidates, devouring, suppression, trample on the human body and mind, but the society had to go through all this blood and blood and the power of the people. But the society of that time had to move forward by opening up its own way through the ferocious savagery, terror and power of blood and fire. The art of the Bronze Age cannot be understood in a sentimental manner. The combination of superhuman historical power and primitive religious mysticism also gave bronze art a serious atmosphere of destiny, which aggravated its mysterious and severe style.

5. With regard to Chinese characters, as with the knotted rope in the Middle Ages, hieroglyphic characters from the very beginning have included symbolic meanings that go beyond the object being modeled. A character expresses not only an object or objects, but also often a class of facts or processes, including subjective meanings, demands and expectations. That is to say, the pictograms also contain references and meanings, and it is this aspect that makes the pictograms of Chinese characters different from paintings in nature, with abstract meanings, values, and functions that are unique to symbols.

6. With regard to the art of the Han Dynasty, it is precisely because it relies on actions, movements, and plots rather than on subtle spiritual faces, voices, and smiles to express the conquest of the world that the rough-heeled, expansive realism, the lack of, and the lack of need for, any faithful portrayal of the finer details, constitutes the ancient and clumsy outlook of the art of the Han Dynasty. Though macroscopic and brief, it is nevertheless incisive and original. From my most general sense I have only tentatively divided this vein into three, namely, totem, spirit, and poetry and literature. Subdivided from these three great abstractions into the original figurative things in this book are the totems of ancient times. Forms of song and dance, bronze, pre-Qin pair of rational spirit, Chu and Han romanticism, Wei and Jin style, Buddha Shirong, the sound of the Shengtang, Tang culture, Song and Yuan landscape mood, Ming and Qing literary thinking these. The author of this book, Li Zehou, introduces the beauty of art in this vein.

At one time, I was very interested in the folk art of paper-cutting, from the content of the paper-cutting, there are many snakes, chickens, fish and other animals as a carrier, this form of art as far back as the ancient times, in the intersection of overlapping phases of the primitive society, the fierce wars and the stability of the peace interspersed with the witchcraft rituals, primitive totem and other symbols with the development of the times and constantly changing. Based on the living environment and state of affairs at that time, it seems that the expectation of human beings to produce and expand their own production and to reproduce heirs rested on these animals with strong reproductive power. Although only some based on speculation.

I also have a great interest in understanding the ornamentation on bronzes. With the creation of classes and the establishment of hierarchy, bronze decoration also changed. From the primitive simplicity and innocence to the ensuing harshness of the right to dominate and maintain status, these transformations and derivations are all about status and power. The representation of ferocious monsters or animals symbolizes mystery, terror, and highlights the fear, cruelty, and ferocity that is associated with the chaotic and violent times of war, in that these grotesque images as symbols point to a certain notion of authority and divine power that seems to transcend time. Their beauty does not lie in the decorative flavor, but more on the inner primitive religious 'emotions, concepts and rationality, with calm, solid, stable artifacts shape, successfully reflecting the spirit of the era to talk about.

In fact, the whole book has been a combination of historical civilization and practice to narrate the course of art, trying to find out the law of social influence on literature and art, and seeking social roots.

In Chinese plastic arts, the element of line embodies the aesthetic characteristics of the Chinese nation. Whether it is calligraphy, ink, or architecture, the art of line is aptly related to emotion. In calligraphy, each stroke highlights the spirit of the unique Chinese bone style of that era, and the same is true of architecture, square, rectangular adobe buildings and foreign pointed. High. Straight kind of towering diametrically opposed. Simple and simple monolithic composition of complex and rigorous group, the right to always have a carrier exists, such as flying roofs, pagodas, shrines, palaces and so on. But always, in China, Romanticism can never be separated from classical rationality.

In literature, from the rational spirit of the pre-Qin Dynasty to the Romanticism of the Chu and Han Dynasties to the style of the Wei and Jin Dynasties to the sound of the Sheng Tang Dynasty, the literary art of the Middle Tang Dynasty, the landscape of the Song and Yuan Dynasties, and the thinking of the Ming and Qing Dynasties, all of them show the root of the social problems.

In Li Sao, Qu Yuan used the most romantic and sizzling mythological story to show that it is indeed the awakening of reason. The counterpart to the Chu Rhetoric is the Han Fu, which describes a life of luxury with highly exaggerated rhetorical techniques, and seeks to show a world melting into a dazzling array of objectification.

The sound of the Shengtang expresses even more the idea of extreme happiness, a rich, youthful enthusiasm and imagination, freedom and joy, permeating the literature of the Shengtang. Even if it is hedonistic, decadent, melancholic, and sad, it still sparkles with youth, freedom, and joy. This is Sheng Tang art. And in the long river of history, the Middle Tang, which plays the role of carrying on the previous and starting the next, is actually the splendid picture of literature and art. He showed that although not as strong as the Sheng Tang's majestic and robust, dazzling light, but more colorful, colorful.

Song, Yuan, Ming and Qing poems and songs, painting and sculpture, miscellaneous novels, is also attached to the development of society as a whole. Song and Yuan landscapes, "I mean" and "no I mean", showing the spiritual world of the people of that era. The literature and art of the Ming and Qing dynasties, Song and Ming paintings, proposed storybooks and operas, prints and paintings are the real foundation of literature and art since the middle of the Ming Dynasty. After the development of the end of the Ming Dynasty to the extreme, it suffered an undeserved setback, and the upper-class romanticism was changed into sentimental literature. It is represented by Peach Blossom Fan, The Palace of Eternal Youth, and Liaozhai Zhiyi.

As the prologue says, from the time of the ancient totem, the spirit of the times sparks frozen here, accumulated, a song, three sighs, and lingered. We feel it, such a journey of beauty that flows by in a hurry.