"Ancient Paintings and Tibetan Beauty"
A very interesting "nostalgic" tour.
Through the dappled ancient paintings,
Open a passage of time for you,
Pulling you from the present to the faint ancient times,
And infused with historical contemplation and leisure.
Recently, "Ancient Paintings and Tibetan Beauty" was published by Jiangsu Phoenix Literature and Art Publishing House, which through the interpretation of classic ancient paintings, let readers not only indulge in its fresh elegance, but also can soothe the souls that need to rest after suffering from the embarrassment of reality.
In this book, it is highlighted that traditional Chinese art and aesthetics often focus on the experience of life and the transcendence of spirit. The literati have an eternal dialogue with mountains, rivers, clouds, and grasses, trees, insects, and stones, deeply inquiring about the meaning of life in the "realm of no self", as a floating dust in the world, and questioning the value of life with grand care. In such an artistic aesthetic background, it is not difficult to explain why in the history of the development of ancient Chinese art, the achievements of flower and bird painting and landscape painting far exceeded that of figure painting.
The bells and yi utensils, literary play pieces, pavilions, and strange stones and birds written by painters of past generations all have an airiness, not like earthly objects, but like a silent pipa, playing a small bridge flowing water-like song, which brings gentle comfort and great spiritual enjoyment at the same time, and subtly enhances the viewer's style taste and taste Yaxing.
The brilliant blooming "classical flower arrangements" presented in the book have been carefully trimmed, but their beauty is delicate but short-lived, and it stops abruptly at a certain moment in time and light. As Ouyang Xiu said in his "Waves and Sands": "This year's flowers are better than last year's red, but unfortunately next year's flowers are better, and I know who to share with." "In the fleeting beauty, grasping the feast at this moment is long-lasting.
Reading this book, we can push open the door of the form of traditional Chinese painting, to spy on the life experience that once stirred up the painter's deep emotional world like a small stone... In the state of mind of "looking up at the greatness of the universe and looking down at the grandeur of the category", they express an abstract nostalgia through other ways of "grinding bricks as mirrors", and psychologically experience the feeling of erosion, death and rebirth.
In the life feeling of the "Year Pilgrimage Offering", interpret the blessing of "living with the golden stone" and the bottle of the offering contains a lotus flower with a thorough understanding. In the literati inker's "Collection of Cases and Gifts", the records are scattered on a table of literary room utensils, and the writer is about to pick up the pen or just put down the pen, meditating alone, enjoying the comfort of the study exclusive to the literati, still showing the stay of time, the beauty of silence.
Book Title: "Ancient Paintings and Tibetan Beauty"
Editor-in-chief: Gu Jing, Wang Wanfa
Publisher: Jiangsu Phoenix Literature and Art Publishing House
At the same time, the artifact appears in the picture, no longer purely for the purpose of recording, but more of an expression of the inner world, a spiritual and cultural communication. Under the author's explanation, the ancient paintings are vivid, as if we are also in it, feeling the gripping beauty. Being able to record the beauty through pen and ink is a kind of beauty in itself, and the author's professional explanation makes us have a deeper understanding of this beauty, no longer floating on the surface, but seeing the essence through the phenomenon, which is a leap and a sublimation. It really feels beautiful.
Text/Guangzhou Daily, New Flower City Reporter: Wu Bo
Photo/ Guangzhou Daily, Xinhuacheng reporter: Wu Bo
Video/Guangzhou Daily Xinhuacheng Reporter: Wu Bo
Correspondent: Hua Wenxuan
Guangzhou Daily New Flower City Editor: Dai Yujing