The "Chinese Artistic Conception" in Oriental Aesthetics - Wang Mingming's "The Master's Gate · 13"

"Artistic conception" is a unique concept in the history of Chinese aesthetics, and it is also a very important aesthetic category of literature and art. It refers to the objective picture depicted in literary and artistic works and the expression of thoughts and feelings are integrated and formed, so that readers have imagination and association, and are emotionally infected.

Ancient Chinese scholars have elaborated on the "artistic conception", and Lu Ji of the Jin Dynasty said in the "WenFu" from the perspective of the mutual integration of "feelings" and "material realms": "Sad leaves fall in the autumn, and joy and softness are in the spring." The heart is full of frost, and the ambition is in the clouds. ”

Wang Changling of the Tang Dynasty said: "Poetry has three realms: material realm, situation, and artistic conception. The material realm refers to the similarity of Zhang Quanshi's yunfeng realm, the situation refers to the entertainment and grievances are all zhang in the sense of its feelings, and the artistic realm refers to the meaning of Zhang And the thinking of the truth of the heart. This speaks of the three levels of poetry, with the highest mood. Because Chinese poetry and painting have commonalities in expression and inner spirit, this theory also applies to Chinese painting.

Freehand is the fundamental feature of Chinese culture and art, Chinese painting is to convey emotions with images, so "artistic conception" can be understood as "imagery" and "realm" in painting, the former speaks of the expression principle of the object, it is the unity of form and god, the coordination of virtual reality and non-existence, and the latter refers to a comprehensive representative height conveyed by the work, both born of accident and hidden in the image, which is perceptive, infinitely meaningful, but difficult to clearly convey and grasp the subjective aesthetic feelings of specific grasp.

Zong Baihua summed up in "Aesthetic Walking": "Taking the specific object of life in the universe, appreciating its hue, order, and harmony, in order to glimpse the reflection of the deepest soul of the self, turning the real scene into a virtual scene, creating an image as a symbol, is the highest human soul embodiment and flesh." "Imagery refers to the breadth of aesthetics, while artistic conception refers to the depth of aesthetics; artistic conception is the sublimation of imagery, which belongs to the category of art, and artistic conception refers to the existence and movement of time and space of the mind, which is vast and endless in scope, and is related to the entire philosophical consciousness of Chinese.

In traditional Chinese painting, "artistic conception" is the core aesthetic concept, as early as the Three Kingdoms and two Jin Dynasties, on the basis of in-depth exploration of the law of image thinking, the painter's subjective emotions in the artistic creation, more and more manifested, to write The god in shape, consciously pursue the taste of art.

We can feel this from the Sui Dynasty painter Zhan Ziqian's masterpiece "You Chun Tu", before the "You Chun Tu", the early Chinese landscape painting was usually "people are greater than the mountains, the water can not be panned", the painter can not perfectly and vividly show the sense of flow of the landscape.

And "You Chun Tu" everywhere shows a kind of spatial beauty, flexible beauty, showing the alternation, exchange and overlap of the natural world, showing the artistic characteristics of the square inch of the land showing the posture of thousands of miles. At that time, although the word "artistic conception" was not explicitly used in the appreciation of paintings, Zhan Ziqian created a unique sense of perception and imagination because of his heart, and the extra-image realm he would create was undoubtedly metaphysical.

Qing Dynasty painter and theorist Zheng Chongguang used the concept of "artistic conception" in the book "Painting Tsuen", and put forward the theories of "real realm", "virtual realm" and "divine mirror" for the creation of landscape painting, making a more in-depth analysis of the meaning and interrelationship between meaning and context in painting, and also making a useful exploration of the expression of artistic conception in painting. Modern painter Huang Binhong said in the article "Chinese Painting Is Not Useless": "The matter of painting is man-made from the beginning and the heavens are created in the end. Art is reluctant, and the way is natural. Happy life, endless happiness. This statement shows that the artistic conception is the ultimate pursuit and the highest level of Chinese painting aesthetics.

From this, we can see that the "perceptual" characteristics of the artistic conception determine that it cannot be achieved simply by technique, but is the expression of the painter's cultural accomplishment and ideological character in the work.