As one of China's aesthetic categories, what are its basic connotations and aesthetic features?

The important category of China's traditional aesthetic thought is the artistic realm in traditional painting, which is manifested in the depiction of time and space and the high integration of emotion and scenery.

The theory of artistic conception first appeared in literary creation and criticism. There are "image" theory and "realm" theory in the literary creation of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties. Poets Wang Changling and Jiao Ran in the Tang Dynasty put forward the theories of "framing" and "edge scenery", while literary theorists Liu Yuxi and Si Kongtu further put forward the creative ideas of "image outside the image" and "scenery outside the scene".

During the Ming and Qing Dynasties, the relationship between meaning and environment was widely discussed. Zhu Cunjue, an art theorist in the Ming Dynasty, put forward the idea of "harmony between urgency and environment", while Ye Kui, a poet and literary critic in the Qing Dynasty, thought that both meaning and environment should be paid equal attention, and "writing the mind comfortably" and "giving play to the scenery" were organically combined. Modern writer Lin Shu and aesthetician Wang Guowei both emphasize the importance of "meaning". Lin Shu believes that "only ideas can be conceived, and six can be created"; Wang Guowei believes that poetry creation should be subordinate to creativity, advocates "inner beauty", and puts forward two different aesthetic norms in poetry creation: "the realm with me" and "the realm without me"

The concept of artistic conception was applied to painting, mainly in the Five Dynasties, Song and Yuan Dynasties when landscape painting developed rapidly. However, as early as the Three Kingdoms, the Jin Dynasty, the Southern and Northern Dynasties, influenced by Taoist thought and metaphysics, landscape painting creation has stepped into a period of emphasizing "realism" and "sketching" from the naive stage of making maps. Painters began to pay attention to the description of the real situation, and put forward the theory and practice of "being sincere and sincere" and "forgetting the image", which led to the formation of artistic conception in traditional painting. Zhang Yanyuan, an art historian in the Tang Dynasty, put forward the concept of "conception", landscape painters in the Five Dynasties put forward the theory of "true scenery", and Guo, a painter in the Song Dynasty, put forward the problem of "emphasizing meaning" in landscape painting creation, arguing that creation should be done with intention and appreciation should be done with poor meaning, and used the rise and development of literati painting in the Song and Yuan Dynasties, the artistic concept and concept of literati painters for the first time with a connotation similar to "artistic conception" Ni Zan and Qian Xuan put forward the theory of "Yi" and "Qi" in Yuan Dynasty, which made traditional painting pay no attention to the expression of subjective spirit, but to the description of objective objects, and promoted the development of artistic conception theory and practice with the creative tendency of emotional construction and expression. Da Zhongguang, a painter and theorist in the Qing Dynasty, used the concept of "artistic conception" in his book Painting Sasakawa, put forward the theories of "true state", "true state" and "divine state" in landscape painting creation, deeply analyzed the meaning and relationship between meaning and state in painting, and made a beneficial exploration on the expression of reality, shape, spirit and scenery in painting.

The presentation and development of artistic conception theory make China traditional painting, especially landscape painting, have a dual structure in aesthetic consciousness: one is the artistic expression of objective things, and the other is the expression of subjective spirit. The organic connection between them constitutes the artistic conception beauty of China traditional painting. Therefore, the artistic conception of the Academy of Fine Arts is neither a simple description of objective images nor a random combination of subjective concepts, but the unity of subjective and objective worlds, which is the embodiment of the painter's high harmony in three aspects: natural beauty, life beauty and artistic beauty.

The composition of artistic conception is based on the spatial image. It is through grasping and managing the image that "feeling meets the scene, meaning conveys the image" is not only the basis of creation, but also the basis of appreciation. Painting forms artistic conception by shaping intuitive and concrete artistic images. In order to overcome the limitations of plastic arts brought by instantaneity and static feeling, painters often express the progress of time and the expansion of space through inspiring and symbolic artistic language and expression techniques. For example, scattered perspective, true and false processing, calculation of white and black, and image modeling in China's traditional paintings are all expressive techniques adopted to maximize the performance of space-time situations. On the one hand, these techniques give the painter full initiative in the composition of artistic conception, breaking the limitation of objective images in a specific time and space, on the other hand, they provide a broad artistic imagination world for the appreciator, so that the limited space and images in the work contain infinite world and rich ideological content. In this sense, the final composition of artistic conception is realized through the combination of creation and appreciation. Creation is to show infinity as finiteness, and the trend of a hundred miles is concentrated at hand; And appreciation is from limited to infinite, and appreciate the trend of a hundred miles at close range. It is this process of face-to-face creation and face-to-face appreciation that makes the artistic conception in the works show, and both need image and imagination to realize the beauty of artistic conception.

Emotion and scenery are the basic factors that constitute the artistic conception, but the emotion in the artistic conception must be the emotion of implication and the reflection of the spirit of a specific era; Scenery is not only a general natural landscape, but also includes occasions, environments, people and events that can touch people's feelings and cause memories of life. Only in this way can the artistic conception of the work be recognized psychologically and emotionally in the process of appreciation.

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Feng Yongchao's Discussion on Aesthetic Characteristics of Artistic Conception

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