How to understand the philosophical beauty and poetic beauty of Chinese painting

Chinese painting is a "quintessence of China" and a wonderful flower in China traditional culture garden. After thousands of years of humanistic care, years of carving, pen and ink accumulation and precipitation, it has gradually formed its fixed way of thinking, unique national style, exquisite aesthetic taste and a complete painting system.

Artistic conception is the taste of Chinese painting and the soil cultivated from the painter's cultivation.

Artistic conception is the spirit of Chinese painting, and it is a branch generated from the painter's emotion.

Artistic conception is the soul of Chinese painting, and it is a flower from the painter's mind.

Artistic conception is an important category in Chinese traditional aesthetics, which embodies the course of artistic beauty.

The creation of artistic conception is a subject that China painters have been exploring all their lives.

In artistic creation, appreciation and criticism, "artistic conception" is often regarded as a standard to measure the quality of works.

whether a painting has artistic conception is an important factor for the success of a work.

artistic conception is the unity of emotion and scenery, meaning and environment. Wang Guowei once said in "Ci-Hua on Earth": "The scenery is not unique. Emotions and sorrows are also one of the realms in people's hearts, so those who can describe the scenery and true feelings are called realms. " The theory of "realm" put forward by him is the unity of meaning and realm. He believes that "realm" should include both emotion and scenery. He regards "realm" as the origin of artistic beauty. It is put forward that "it is better to talk about temperament and charm than to talk about realm, and there is a realm, and the temperament and charm are also at the end, and there is a realm." That is to say, in art, if the scene is blended, it naturally produces charm and embodies temperament. Therefore, he added that "everyone's works will be refreshing, and their scenery will be refreshing." His words blurted out, and there was no state of correcting makeup. What he sees is true, and what he knows is deep. Poetry is all natural. There is no big mistake in holding this to balance the authors of ancient and modern times. " . He also said: "the poet must be inside and outside the universe." If you are involved, you can write it. Beyond it, we can see it. Into it, so there is life. Beyond it, it is high. ..... "

Although this is talking about the artistic conception of poetry, China's poems and paintings have always been compared by the ancients, and they are treated in the same theoretical system. There was a definition in Zhang Yanyuan's "Records of Famous Paintings in Past Dynasties and the Origin of Narrative Paintings" in Tang Dynasty. That is, "Poetry and painting have different names but the same body" ... Later, people even thought that poetry and painting are one thing, and their artistic conception is the same. Poetry is just a painting written by a poet with words, while painting is a poem drawn by a painter with pen and ink. A poet can't be called a poet if he can only use words to express objects, and a painter can't be called a painter if he only uses technology to express graphics. A real poet or painter must be poetic to create real works of art and become a veritable poet or painter. " At the same time, the ancients also emphasized the importance of "meaning" in painting. It is believed that poetry must have a purpose, and painting must also have a purpose. Wang Fuzhi said in Jiang Zhai Shi Hua: "Italy is still handsome." Without a handsome soldier, it is called wuhe. "

Ouyang Xiuyun said, "I like to look at the remains of pen and ink since Wei and Jin Dynasties, but I miss the lofty aspirations of my predecessors! The so-called law posts are all about mourning for illness, saying goodbye, and asking questions in communication, which are applied between family and friends, but only a few lines. Cover its original intention, but escape from the pen, dripping with excitement, or gorgeous or ugly, various kinds of things, wearing curly letters, rotten in the eye, so that the sudden sight is absolutely shocked, Xu and see it, its meaning is endless, so that future generations can get it, think it is a strange play, and want to see it as a person! ..... It is this aesthetic feeling of human feelings that, through the transmission of pen and ink, enables people with lofty ideals throughout the ages to feel the warmth of life without the limitation of time and space, and "want to see them as human beings", which has become a universal understanding friend in the history of human culture.

From the communication between Confucius and his disciples in The Analects of Confucius, we know that Confucius advocates the beauty of nature. He said, "The benevolent enjoys Leshan, and the wise enjoys water." One day he asked some disciples about their interests. Yu Lu, Ran You and Gong Xihua all stated their ideals one by one. It was Ceng Dian's turn. He asked, "What is the point?" Drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums, drums Ziri: "What's the harm? They also speak their own minds. " He said, "Mo Chun, who has finished his spring clothes, has five or six champions and six or seven boys, bathed in interpretation, danced in the wind and returned with singing!" Master sighed with shame: "I am with the point!" " ......

When future generations of scholars read this, they were almost amazed at Confucius' unexpected attitude towards life. And Pan Yue wrote this realm in his Autumn Xing Fu: "...... the fertile land of plowing the east is rich, and the taxes are lost after the millet is lost. The spring is surging among the stones, and the chrysanthemum is blooming on the cliff. Take a shower of autumn water, and play with the fish. Free and unfettered by mountains and rivers, let go of the world. I am leisurely, chatting and dying. " ......

We can also learn about Zhuangzi's consistent style from Zhuangzi and the conversation between him and Keiko who swam on the Hao Liang. Zhuangzi said, "It is a pleasure for minnows to travel leisurely." Keiko said, " you are not a fish, where do you know that the fish is happy?" ？ ” Chuang Tzu said, " you are not me, how do you know I do not know that fish is happy?" ？ ” Keiko said, "I'm not a son, and I really don't know a son;" Zi Gu is not a fish, but he doesn't know the joy of fish. " Zhuangzi said, "Please follow its origin. Confucius said,' You know fish well,' and if you know what I know, ask me, and I know it well. "

Later, when Jian Wendi entered the Garden of China, he said, "You don't have to be far away from your heart. If you are surrounded by forests and waters, you will have your own thoughts, and you will feel that birds, animals, birds and fish have come to your relatives." ......

No matter in the mountains or on the temples, China culture highly respects this kind of "dream between the rich and the poor". The ancients have long found that the root of harmony lies in people's closeness to nature, and they feel great pleasure in returning to nature. Because those saints and sages have long believed that man and nature were originally one. In Laozi, a series of words, such as "Heaven and earth are great virtues, and life is born", repeatedly emphasize the benevolence of heaven and earth, and heaven and earth treat people like a grass and a tree in nature. In Shi Shuo Xin Yu, it is recorded that Huan Wen (Huan Gong) marched northward and passed through Jincheng. When he saw Langya before, all the willows were planted around ten. He said, "Wood is like this, how can people be inferior?" Climbing the branches (climbing the branches), I burst into tears. ......

Huan Wen military man, feeling so. Yu Xin wrote "Ode to Dead Trees", and at the end he quoted Huan Fu as saying, "In the past, willows were planted, but now they are falling, and the river pool is sad, so the trees are still there. How can people be inferior?" He deeply felt the sadness of Huan Wen's words, and put it into a lyric poem in four words.

Later, Mr. Liang Rengong integrated these passionate feelings: "Spring is already pitiful, and it can eliminate several storms; It's a pity that the trees are so beautiful.

Mr. Zong Baihua said: "This is a kind of spiritual beauty, or philosophical beauty. This kind of thing has far-reaching power, and it can make people detached from death and life." ...

Generally speaking, China people's aesthetic feeling and artistic view are based on the world view of Laozi and Zhuangzi's philosophy, and the relationship between man and nature is raised to the height of human temperament and the spirit of heaven and earth. In the final analysis, Chinese painting is the same as the thinking concept formed by China culture, it is a kind of looking up to and merging with the universe, and it is a kind of understanding of the life process. To realize this state of life, it must take quite some time. For a person, this requires a long life process, otherwise your accumulation will not reach that thickness, and wisdom will not be able to reach that transparency, and "seeing the Tao with an open mind" will become an empty talk. Everything is just a taste! ..... So, that's what China people mean when they talk about "being a late bloomer".

There is no doubt that artistic conception is the result of objective natural scenery and subjective feelings for Chinese painting, so there are many writings on ancient and modern painting theories. Profound insights like those above are summarized from creation, appreciation and practice. Therefore, artistic conception, as the result of artistic creation, is bound to show some aesthetic characteristics, reflect some humanistic connections and record some ideal fit in the process of creation. ......

An outstanding painter is outstanding not because he lives in a country of poetry, but because he can live in this country's poems, not only in this country's poems, but also in her poems! ......

If so, I say that there are three kinds of artistic beauty in Hu Qiaoran's paintings, one is poetic beauty, the other is human beauty, and the third is physical beauty.

1

China is a country of poetry, where poetry is everywhere. Poetry is the beginning of China's splendid culture. Confucius sorted out thousands of the most beautiful poems in ancient China, selected 3 poems and compiled them into The Book of Songs. "Preface to Mao Poetry" says: "Poets, who have aspirations, have aspirations in their hearts, speak as poems, and express their feelings in words. If they are not enough, they sigh, so they lament, so they chant, chant and dance without knowing their hands." All China's literary forms were born out of this "insufficient" will. .....

Chinese painting and poetry have always been inextricably linked. The Book of Jin Shu Zhuan contains 75 pieces of bamboo slips excavated from Wei Xiang's tomb in Ji County in the second year of Taikang, one of which is called "a picture poem", and it is said that "a picture poem belongs to praise". That is to say, the earliest literature about the combination of poetry and painting can be traced back to the Warring States period, and the so-called "painting praise" is the combination of poetry and painting.

The Collection of Sound Paintings compiled by Sun Shaoyuan in the Southern Song Dynasty is the earliest anthology of poems on paintings in China. It collects the works of poets in the Tang and Song Dynasties, but there are no poems on paintings before the Tang Dynasty. In the Qing Dynasty, Chen Bangyan compiled "Poems on Imperial Paintings in Past Dynasties", and searched all the collections of literati in the past dynasties, and got 8,962 poems on paintings, which is not incomplete, but only poems on paintings by poets in the Tang, Song, Jin, Yuan and Ming Dynasties, and there is no work before the Tang Dynasty. In fact, as early as the Southern Dynasties, Jiang Yan said in the preface of Four Poems on Snow Mountain that "all the miscellaneous things on the wall are good landscapes, and the immortals are five or six, and the clouds are full of gas, which is called Little Praise Cloud." In the Northern Zhou Dynasty, Yu Xin's Twenty-four Poems on Screen, etc., which were not recorded by later generations, may be the earliest poems on painting in China.

As a literary form, inscribed painting and chanting painting should not only describe the main content of the picture, but also write the artistic conception of the painting.

Paintings and poems about paintings began to flourish in the Tang Dynasty, and Du Fu was probably the poet who wrote the most poems about paintings. Lu Hong wrote the Ten Poems of Caotang and Zhang Xian wrote the Ten Poems Volume. They were the first painters to write poems on themselves. Gu Kaizhi was the first painter to paint poetically. According to Cao Zijian's "Luo Shen Fu", his "Luo Shen Fu Tu" is also the earliest poetic painting. ......

Wang Wei combines poetry and painting, claiming to be: "A poet who is ridiculous in the past, his predecessor should be a painter." His poems are picturesque and picturesque. Su Dongpo has: "A poem with a charming taste, with pictures in it. Watch the painting, there are poems in the painting. " The theory that "Shaoling's calligraphy is invisible, and Han Gan's painters are silent". Guo Xi said: "Poetry is intangible painting, and painting is tangible poetry." Huang Tingjian said: "Poetry becomes a picture without images, and a silent poem is painted." .....

On the basis of summarizing the artistic practice of predecessors, Su Dongpo studied the relationship between poetry and painting from a theoretical perspective. For the first time, the artistic idea of "poetry and painting are the same" was clearly put forward. He said in "Two Folded Branches Painted in the Master Book of King Yanling": "On the similarity of paintings, see the neighborhood with children. Poetry must be this poem, and you must know that you are not a poet. Poetry and painting are uniform, ingenious and fresh. ..... "Think that poetry and painting have the same aesthetic law and creative law. Pointed out: Tiangong is the pursuit of God, and freshness is the grasp of God. Being clear and new is the idea of poetry and painting. Poetry seeks the implication, painting seeks the sound outside the image. Poetry takes words as the language, painting takes pen and ink as the language, and shapes feelings and thoughts into images. They are connected, similar and integrated in the same way of expressing their feelings and expressing their feelings with images. China's poetics puts forward that the form is similar to the spirit, so as to achieve both form and spirit. It requires "neither sticking nor taking off", "neither leaving nor being alike", that is, neither sticking too closely to the form of things nor leaving the things themselves. Therefore, the spirit of China's poetics holds that "both form and spirit" is the goal pursued by the creation of poetic artistic images and the key to impress readers, and requires the artistic images to achieve the perfect unity of external shape and internal spirit.

Chinese painting, with the concerted efforts of scholars and painters in the Tang and Song Dynasties, formed a tradition of focusing on painting meaning rather than forcing, which directly led to the emergence of literati painting. In the eyes of artists in China, the creation of feelings in poetry and paintings depends on the acquisition of images. The similarity of this artistic image creation is precisely between poetry and painting, which is the reason why they can coexist in perfect harmony, that is, the ancients repeatedly said that poetry and painting are of the same origin.

Yuan Mei, a Qing dynasty, advocated that "painting should be based on verve first, and poetry should be based on temperament", which was related to his poetic theory of temperament. When evaluating paintings and inscribed poems, he demanded that poetic style and poetic charm should be integrated.

Xu Fuguan, a modern man, pointed out when analyzing the course of the combination of poetry and painting: First, the appearance of poems with paintings created the combination of poetry and painting in form. Secondly, painting with poetry creates a combination of poetry and painting at the level of care and scenery. Thirdly, painting with the artistic conception of poetry, painting with the artistic conception of painting, poetry and painting are spiritually integrated and inspired, realizing the integration at the artistic conception level. The function of inscribed poems lies in the fact that, beyond the simple picture, poems are difficult to draw, images that are difficult to draw in words, the scenery of the exhibition, poems expand their meanings, poems and paintings reflect each other and complement each other. The so-called "painting is insufficient and the topic is enough, painting is silent and poetry sounds" is also true.

There are three main parts that make up the poetic beauty of Hu Qiaoran's paintings. One is the creation based on the content and spirit of poetry, including some poems about specific things in the humanistic classics of past dynasties, which are relatively complicated and span from the era of The Book of Songs to the Tang and Song Dynasties. The second is the creation with the meaning of Tao Yuanming's pastoral poetry and fu, which can be attributed to "painting with poetry or that poetry and painting are spiritually integrated and inspired, achieving a great integration at the artistic level". Thirdly, Banqiao old man's poems and paintings are the mainstay, and the radiation area includes some contents between "Yangzhou Eight Eccentrics" and Baishi old man. This part of poetry constitutes the content of Hu Qiaoran's picture in form, which can be called "the combination of poetry and painting in form". These three aspects are connected with each other, which makes Hu Qiaoran's poetic style of "poetry" and "painting".

At present, it is found that Hu Qiaoran's works with the theme of predecessors' poetry are also the contents of China's earliest poetry integration "The Book of Songs", including the first one "Guan Sui". The poem says, "Guan Guan's dove is in the river continent." The beautiful and virtuous woman is a good spouse of a gentleman. ..... "This is a poem symbolizing love. Its main expression technique "Mao Zhuan" says: "Xing Ye"! What is "Xing"? Kong Yingda said in his "Justice of Mao Poems": "Those who are' prosperous' will get up. Take the analogy and lead the class, and start your own heart. Those who cite plants, birds and animals in the "Poetry" are all' xing' words. " The so-called "xing" means that what is sung is first aroused from other scenery as a sustenance. .....

The "pheasant dove" in the poem refers to a kind of waterfowl that flies by experts. It's not for nothing that the birds are written into love works in The Book of Songs. The courtship process of the birds is really commendable. During the breeding season, the males often catch big fish and give them to the females to show their love, and they often compete with each other. It is said that because of the strong sense of the birds' territory, only one pair of birds usually inhabit in a small pond area, so not everyone is lucky enough to see this man singing along with the woman. Maybe it was the ancients.