Chinese Poetry Culture Centered on Context

Mood refers to the kind of poetic space in lyrical works that is characterized by the blending of scene and reality, and by the rhythm of life.

If the typical is a single image, the mood is an image system composed of a number of images, is the overall image of the literary image of the advanced form.

While the exposition of "realm" in the literary theory circle has a variety of opinions, for Xuan for short, there is one place that is surprising, which is that the vast majority of commentators put "realm" and "mood". This is that the vast majority of commentators equate "realm" with "mood". Called "literary image", "the world in the work". This view is undoubtedly one-sided.

The word "realm" as a general customary law, such as the cloud "realm of two, the realm of poets, the realm of ordinary people", this so-called realm, it is a general reference to the works of an abstract realm. This so-called realm should refer to the different stages of cultivation and attainment. Another example is the cloud "'the moon shines on the snow', 'the river flows day and night', 'the moon hangs in the middle of the sky', and 'the yellow river sets the sun round'. ', such a realm, can be said to be a thousand years of spectacular", here the so-called realm should be referred to the author of the description of the scenery in terms of the person.

Traditional Chinese aesthetics is an important category of thought, and in traditional painting, it is the artistic realm embodied in the high degree of integration of emotion and scenery through the portrayal of space and time realms.

The theory of mood first appeared in literary creation and criticism. In the era of the Three Kingdoms, the Jin Dynasty, and the Northern and Southern Dynasties, there were "imagery" and "realm" in literary creation. The Tang Dynasty poets Wang Changling and Jiao Ran put forward the theory of "taking the realm" and "bordering on the realm", while Liu Yuxi and the literary theorist Sikongtu further put forward the theory of "the image beyond the image", Liu Yuxi and the literary theorist Sikongtu further put forward the creative insights of "the image beyond the image" and "the scene beyond the scene".

In the Ming and Qing dynasties, the relationship between meaning and context was widely discussed. The Ming art theorist Zhu Cunjue put forward the idea of "urgent situation and thorough", and the Qing poet and literary critic Ye Kui thought that the meaning and the situation are both important, emphasizing that the "Shu writing" and "play the scene" should be organically combined. should be organically combined. Modern literary scholar Lin Shu and aesthetician Wang Guowei emphasized the importance of "meaning". Lin Shu believed that "only the intention can be established, six can be created"; Wang Guowei believed that the creation of words should be subordinate to creativity, advocated "internal beauty", and put forward the "realm of the self" and "realm of no self" of poetic composition, which are superior to the intention, and the "realm of the world" which is superior to the realm. He put forward two different aesthetic norms, namely, "the realm of the self" and "the realm of the selfless" in the creation of poems, in which the meaning is victorious.

The concept of mood is applied to painting, mainly in the Five Dynasties and the Song and Yuan Dynasties, where landscape painting was developed rapidly, but as early as in the Three Kingdoms, the Jin Dynasty and the North and South Dynasties, influenced by Taoist thought and metaphysics, the creation of landscape paintings had already passed from the na?ve stage of map-making into the period of "actual pairing" and "sketching", where the creation of landscape paintings had already passed from the infantile stage of map-making into the period of "actual pairing" and "sketching". The painters began to pay attention to the depiction of the actual situation, and put forward the theory of "clarifying the mind to taste the image" and "forgetting the image", and the artistic creation aims to "free the spirit" and "free the mind". and the idea that artistic creation is aimed at "freeing the mind" and "delighting the emotions". This theory and practice was the precursor of the later traditional painting emphasizing the composition of the mood, the Tang Dynasty art historian Zhang Yanyuan put forward the "intention", the Fifth Dynasty landscape painter Jing Hao put forward the "true scenery", the Song Dynasty painter Guo Xi put forward the creation of landscape painting, "the importance of meaning". Guo Xi, a Song Dynasty painter, raised the issue of "emphasis on meaning", believing that creation should be "created by intention" and appreciation should be "poor in meaning", and for the first time, he used the term "mood", which has similar connotations to the term "mood". and for the first time used the concept of "realm" with similar connotations to "mood". The rise and development of literati painting in the Song and Yuan dynasties, the artistic concepts and aesthetic ideals of literati painters, especially Su Shi's advocacy of the integration of poetry and painting in painting, as well as the Yuan dynasty painters Ni Zan and Qian Zhuan's "Yiqi" and "Shiqi", made traditional painting shift from a focus on the depiction of objective objects to a focus on the depiction of objective objects. The focus on the depiction of objective objects shifted to the expression of subjective spirit, and the creative tendency of composing a situation with feelings and expressing one's will in objects promoted the development of the theory and practice of mood. In the Qing Dynasty, the painter and theorist Gala Chongguang used the concept of "mood" in his book "Painting Chyuan", and put forward the concepts of "real world", "true world" and "divine world" for the creation of landscape painting.

The proposal and development of the theory of mood made traditional Chinese painting, especially landscape painting, have a two-fold structure in terms of aesthetic consciousness: one is the artistic reproduction of objective things, and the other is the expression of subjective spirit, and the organic connection between the two constitutes the beauty of mood in traditional Chinese painting. For this reason, the mood emphasized by the legendary art is neither a simple description of objective objects nor a random combination of subjective ideas, but the unity of the subjective and objective worlds, and is the embodiment of the high degree of harmony between the painter's natural beauty, the beauty of life, and the beauty of art through the "external mastery of the creation of the world, and the source of the heart".

The composition of mood is based on the spatial image, and it is through the grasp of the image and management of the situation to achieve "feelings and scenery, meaning and image through", which is not only the basis for creation, but also the basis for appreciation. Painting is through the shaping of intuitive, concrete art image constitutes the mood, in order to overcome the limitations of the plastic arts due to the instantaneous and static sense, painters are often rich in enlightenment and symbolic artistic language and expression to show the flow of time and the expansion of space. For example, in traditional Chinese painting, scattered perspective, the treatment of reality and falsehood, the use of white as black, and imagery modeling are expressive techniques adopted in order to maximize the display of time and space. These techniques, on the one hand, enable painters to take full initiative in the composition of mood, breaking the limitations of objective objects in a specific space and time, and, on the other hand, provide admirers with a broad world of artistic imagination, so that the limited space and images in the work contain an infinite world and rich intellectual content. In this sense, the final composition of the mood is realized by the combination of creation and appreciation. Creation is the expression of the infinite into the finite, and the power of a hundred miles is condensed within a stone's throw; while appreciation is the peep from the finite to the infinite, and the power of a hundred miles is savored within a stone's throw. It is this process of creation from surface to point and appreciation from point to surface that makes the mood of the work come out, and both of them need image and imagination to realize the beauty of the mood.

The mood is the painter with the image of the performance to express the intention of the chest, the emotion of the landscape, the painter to write this emotion with the brush, so that the appreciator of his work rich in connotation.

The structural characteristic of the mood is the real and the imaginary. The mood consists of two parts: a part of the more real factors "as in the present", known as the "real world"; a part of the more imaginary part of the "see beyond the words", known as the "imaginary realm." The imaginary realm is the sublimation of the real realm, reflecting the intention and purpose of the real realm creation, reflecting the artistic taste and aesthetic effect of the whole realm, constraining the real realm of the creation and depiction, in the realm of the structure of the soul, the commander-in-chief position. However, the virtual realm can not be created out of thin air, it must be the carrier of the real world, the implementation of the real world on the specific portrayal. In short, the virtual realm through the real world to show that the real world in the virtual realm of the unity of the processing, which is the real and virtual real" the structure of the realm of the principle.

The essential feature of the mood is the "rhythm of life", i.e., to show the beauty of life itself. In the aesthetic psychological structure of our nation, it is the cosmic realm and the artistic mood that are regarded as a blended and isomorphic relationship. Since the universe itself is a form of life, the poet's experience of the cosmic realm is an experience of the rhythm of life, and the mood is precisely the expression of this rhythm of life. Although the human heart is small, it can hold the whole universe. The poet's heart is the creation of the universe, and he can map the poetic heart of the universe and the aura of the universe. Therefore, we say that artistic mood is essentially a psychological phenomenon, a kind of life rhythm of the human mind. Literary mood as a life rhythm of the human mind has three characteristics: (1) express sincere feelings. (2) To show the interest of flying. (3) the transmission of the spirit of all things interesting.