Museums are a bridge between history and the present. Today, we select ten cultural relics from the museum and enter from ten angles to discuss with you how to look at artifacts in the museum. Borrowing the concept of "close reading" in literary theory, let's carefully "read" these ten objects.
1. Neolithic Dawenkou Culture White Pottery - The Origin of Art
The first is the white pottery of Dawenkou culture in the exhibition hall of the National Museum, which is a typical artifact of Dawenkou culture. Let's start with the background of archaeology, and then move forward from the perspective of art history.
▲ White pottery mantle is 14.8 cm high
Neolithic Dawenkou culture
In 1959, it was unearthed in Dawenkou, Tai'an, Shandong
Collection of the National Museum of China
There is a basic method of archaeology called typology, that is, a large number of artifacts are arranged according to their morphology to explore their chronological relationship and evolution with each other. Its basic theoretical premise is that the changes of man-made objects have the same laws as the biological evolution of nature, and this law can be observed by means of big data analysis. Although this theoretical premise seems quite traditional today, the typology can continue to be used to a certain extent. Combined with typology, we can still observe the general trend of artistic change. On the basis of typological research, we will consider the question of "the origin of art" by analyzing the evolution process of pottery.
The Dawenkou culture is mainly distributed in Shandong, and we start with the earliest pottery in Shandong. In Shandong, early pottery dating from 8,000 to 7,000 years ago is represented by this round-bottomed kettle, which is simple to place by digging a shallow pit directly in the ground and supporting it with three stones when heated. Later, a wise man invented three pottery feet fixed at the bottom to support it, which became a pottery tripod. In order to prevent hot hands when moving it, add another handle to it. The handle of one node is easy to break, so there are two nodes. It has a pointed mouth called a "flow" to make it easier to pour liquids outward. Later, the bottom foot was changed to a hollow bag foot to increase the capacity of the liquid and the heating area. This kind of shape can be called a skull. Some pottery clay was found to have limescale, which is known to be used to boil water, but some have detected traces of the original liquor.
In the early days, the development trajectory of Tao Wei was based on the principle of pragmatism, and slowly moved forward. However, we noticed that these objects were also very particular about color, first with red pottery, and later with kaolin clay to turn white, which is very beautiful. The craftsman will encounter technical problems when splicing, when the upper and lower parts of the abdomen are spliced, there will be traces of the bad combination, and the craftsman will rub a mud strip with mud and paste it, and then press it with his fingers to form a row of dimples. Later, they may have thought the row of nests was beautiful and kept it as a decoration. At first, it was for sturdy, and later for beauty, and the archaeological report called it an additional pile.
▲Pottery kettle unearthed at the Xihe site in Zhangqiu, Shandong (about 8400-7700 years ago)
▲Shandong Zou Chengye store unearthed pottery ding
▲ Shandong Ju County Lingyang River site unearthed pottery
Perhaps one day, a craftsman felt that the object resembled a bird, and he actually made it look like a bird. We can see that a pair of wings are depicted on the back of this pottery piece, this one has a short tail added, and some are directly made in the shape of a bird. The form of these birds may be related to their beliefs. Shandong is close to the sea and worships birds. Until the Han Dynasty, it was believed that the sun was carried by birds in the sky. "Zuo Biography" records that Confucius had a conversation with Tanzi, talking about Shaowan's worship of birds. In this way, people's ideas began to be presented with the help of the shapes of these objects.
▲ Bird-shaped skull unearthed in Beizhuang, Daheishan Island, Changdao, Shandong
Tao Yan has developed to this point, and it is a work of art. There are many theories about the origins of art. What we observe here through the artifacts is at least a noteworthy path for the art to take place.
2. Neolithic Shandong Longshan culture thin tire black pottery goblet - the precursor of civilization
When we talk about Chinese civilization, the first thing that comes to mind is the ritual and music civilization of the Shang and Zhou dynasties. "Li" is related to religious sacrifices. "At the beginning of the ceremony, all food and drink", God and ancestors had to eat and drink, and the eating utensils of daily life were gradually nobled, and they entered the system of the early ritual system. Etiquette is a very important symbol of civilization in China.
This is a black pottery goblet from the Neolithic Longshan culture in Shandong Province in the collection of the National Museum, which is similar to the shape of the goblet today. But its material is ordinary earth. Its thinnest part of the wall, such as the edge of the mouth, is 1-2 mm, which archaeologists call "eggshell pottery".
▲ thin tire black pottery goblet;
Height 18.5 cm, diameter 14.5 cm, foot diameter 6.3 cm;
Neolithic Longshan culture
Unearthed in Sanlihe, Jiaoxian County, Shandong Province, collected by the National Museum of China
It's a cup, but it's not an ordinary cup. It is very special in terms of production technology, craftsmanship and materials. My teacher, Mr. Liu Dunyuan, explained that this kind of pottery was the "atomic bomb" that represented the highest achievement of material and spiritual culture at that time. Mr. Liu also said that this type of pottery also has its fatal drawback, that is, it violates the properties of clay, so it only exists for a short time and disappears quickly.
Around 4,000 years ago, it was unusual for people to be able to possess such things, and we can imagine that society began to change, and the early state took shape, and these artifacts played an important role at this time. It should be emphasized that these artifacts are not only "determined" by various external social factors, but also the power of art at the same time participates in the development of the whole society and becomes a very important role in the growth of this civilization.
3. Shang Si Mu Wu Ding – The shape of power
Bronzes in Europe were first used to cast production tools. The situation was different in China, where ritual and weapons were first cast in bronze for religious sacrifices and warfare.
Simu Wuding is the largest known bronze object to date. In the past, scholars interpreted its inscription as "Simu Wu", and the "Hou Mu Wu" adopted by the National Museum is another interpretation scheme. This great work, which is generally studied in the framework of typology in archaeology, has also been discussed in the history of technology. The study of art history has not yet been fully developed.
▲司母戊鼎
It is 133 cm high, 112 cm long and 79.2 cm wide
The wall thickness is 6 cm, and the weight is 832.84 kg
Shang (c. 16th-11th century BC)
In 1939, it was unearthed in the military attache village of Anyang, Henan Province, and was collected by the National Museum of China
In my opinion, its shape is completely the language of architecture. There are four pillars below, and the four sides are like walls. It places special emphasis on the outer contour line, while the center is instead empty. Its edges are clearly outlined, leaving a blank space in between, and its own luster and the material itself are far more important than the pattern. The pattern is just a border, like a picture frame, but there is nothing in this frame.
▲Simu Wuding surveying and mapping
Simu Wuding is a more conservative shape, which inherits more of the traditions of the early Shang Dynasty. The original function of the corner ridge may have been to shade the cast seam. But here, it makes the edge line stand out even more. This tripod is not round, its square shape, coupled with the striking contour line, constitutes a powerful sense of power.
Ding was originally used to cook meat, but what is Simu Wuding for? I found a survey and you can notice that it has four small round holes in the insole that lead directly to the foot, which means that its insole is not flat. If you want to cook something, it will leak out, so it's not practical. Simu Wuding may have been detached from its practical function, like the eggshell pottery cup, its function as an object of viewing in the ritual is far greater than the function of serving it.
What I'm talking about doesn't need to be discovered through much external knowledge, but can be observed by our eyes. When you visit the museum, you should use your eyes without hesitation. Art history does not begin with reading words, but with watching. We use our eyes to find problems, ask questions, observe the internal features of forms, discover the logic of vision, and then supplement other information, such as oracle bone inscriptions, documents and other materials to find clues to interpretation.
4. Shang Siyang Fangzun - Classical light
The fourth is the familiar Four Sheep Fangzun.
▲ Siyang Fangzun is 58.3 cm high
Shang (c. 16th-11th century BC)
In 1938, Yueshanpu in Ningxiang, Hunan Province was unearthed in the collection of the National Museum of China
Let's compare these two utensils, one is called Zun, and the other is called Yao. A so-called "goblet" was found in Shaanxi, with an inscription on it, calling itself "Tong". Regardless of what it's called, these two are square vessels that have one thing in common, both with a square mouth like a trumpet. Why is it square? Very few people ask this question. In the Shang Dynasty, "fang" was a very important concept. In the Shang Dynasty oracle bone inscription, the "four winds" should be sacrificed. Where the sun comes out and where it sets, how the river flows, and how the wind blows, the direction is very important. The people of the Shang Dynasty wanted to be in a certain place, and when choosing a city site, they must first have a direction, and the same is true for utensils.
▲ Henan Anyang Guojiazhuang No. 160 tomb unearthed dragon pattern bronze square goblet
When we look at the Four Sheep Fangzun, we often ignore the small dragon head between the two heads of the sheep on each face. Dragons are sacred animals, while sheep are mundane and ordinary. The sacred animal was robbed by four sheep, and we only saw four sheep, but we could not see four dragons. Four dragons are the norm, and the four sheep jump out at once, which stands out. There are two other examples, the British Museum and the Japanese collection of the Twin Sheep Statue. The shape of these two pieces is a little different, and they are different ways of processing.
▲The British Museum has a double sheep statue (left)
and the Nezu Museum of Art in Japan (right)
Archaeology describes an artifact, often saying how the mouth edge of the artifact is, and what the foot is, which is a description of the anthropomorphism of the artifact. The ancients put the leg of the sheep on the leg of the utensil, and it was also a man who imagined a utensil as a living thing.
▲ Siyang Fangzun feet
Please pay attention to the ridge in the middle of the feet of the Four Sheep Fangzun. This would have been a regular decoration, but here it is crucial, as it gives us the illusion that we are seeing a leg of lamb. It's almost impossible to see that we're dealing with four half-length sheep, and to think we're seeing four whole sheep, partly because the edge takes advantage of our optical illusion and gives us a vague idea between image and dislikeness through an abstract line. In addition, the front leg of another adjacent sheep will also be borrowed by us as the hind leg of this sheep.
Behind this remarkable work of art, there must be a pair of different hands, a unique brain that directs these hands, which is what we call "seeing people from things". We don't know the names of craftsmen and designers, but we can see their language, hear their voices, and know the logic of their thinking.
5. Western Han Dynasty Changxin Palace Lamp - the stage of people
The Changxin Palace lamp is a bronze lamp, which is very different from the bronze we talked about earlier. Bronze was used to cast ritual and weapons during the Shang and Zhou dynasties, but in the Han dynasty, it was used to cast an item for daily use, which is a big change. At this time, China had come out of the Bronze Age, and although bronze was still there, it played a different role.
▲ Changxin Palace lamp 48 cm high
Western Han Dynasty (206 BC - 24 AD)
In 1968, the tomb of Dou Xuan in Mancheng Lingshan, Hebei Province was unearthed in the collection of Hebei Museum
The outside of the Changxin Palace lamp is gilded. The true color of bronze that we see in Simu Wuding used to be such a noble material and color, but by the time of the Han Dynasty, people were no longer satisfied, which was the exit of the Bronze Age. This exit is also reflected in the difference in subject matter, in the past we can see the many gods depicted on the utensils, rather than ordinary people; The Changxin Palace Lamp shows a palace maid, and it is completely realistic in form, which is the style and interest of daily life.
In the traditional Shang and Zhou bronzes, there are very few human figures. In the art of ancient Greece, Rome, and Egypt, we can see many tall monumental statues; In China, the object of sacrifice is invisible, and the invisible is even more majestic. Such beautiful bronzes are dedicated to God or ancestors, but their images are not visible. In the Han Dynasty, there were changes, and people didn't know what the emperor looked like, but they could show the appearance of this ordinary palace maid.
▲The expression of the palace maid
The expression of the palace maid is also worth studying. The terracotta figurines of the Han Dynasty have very exaggerated expressions, but the face of this little girl is so calm that it is almost impossible to see the expression. Some textbooks say that the little girl "has a painful look on her brow that hides the enslaved." But I have another guess: her thin and long eyebrows, with a bend in the middle, should be the sorrowful eyebrows mentioned in the literature, and the sorrowful eyebrows are cheeks or frowns. In the eyes of the people of the time, it was an image of beauty.
The Changxin Palace lamp has two identities, one identity is a lamp, and the other is an interior decoration. When the lamp is really lit, no one stares at the lamp, and the person disappears; And during the day, when the lamp is no longer lit, people appear. It shines on us at night, and we see it during the day.
6. Northern Dynasty celadon upturned lotus statue - the sky is falling
The Chinese discovered the beauty of plants much later. Neolithic faience has petal patterns, but not much. The top of Zeng Zhong's square pot in the Spring and Autumn Period is like a flower, and it is still a transition from abstraction to realism. And what we see on this lotus statue of the Northern Dynasties period is a petal lotus flower covered with petals, like layers of feathers.
▲Zeng Zhongxuan's father's square pot is 66.7 cm high in spring and autumn
Unearthed in Jingshan County, Hubei Province in 1966 in the collection of the National Museum of China
▲Celadon upturned lotus statue is 63.6 high, with a diameter of 19.4 cm Northern Dynasty
In 1948, the tomb of Feng in Jingxian County, Hebei Province was unearthed in the collection of the National Museum of China
▲ celadon carved lotus petal pattern tray height 19.7, diameter 15.5 cm Southern Qi
In 1975, the tomb of Nanqi in Ji'an, Jiangxi Province (493) was unearthed and collected by Jiangxi Provincial Museum
Some people think that this celadon carved lotus petal pattern tray was used for drinking tea, but in fact, tea was not so popular at that time. I'm interested in the decoration on it, with these petals, the bowl on top is transformed into a lotus flower, and the lower one is a flower, which is actually a double petal. When the person held the object, a flower bloomed in the palm of his hand. The lotus flower is a symbol of Buddhism. After Buddhism entered China, the utensils we use in our daily lives have changed.
▲ Eight-sided water purification secret color porcelain bottle is 21.5 cm high and 2.2 cm in diameter
Tang dynasty (618-907)
In 1987, the underground palace of Fufeng Famen Temple in Shaanxi Province (874) was unearthed
Famen Temple Museum Collection
There are many different ways in which people use the lotus flower. The picture above is the so-called secret color porcelain, this piece is too concise, because it is won by secret color, in order to highlight its texture, there is not too much decoration. But if we look closely, it's actually an inverted bud that isn't fully open. We can see a very subtle point, and the lines are subtly tightened and just right.
Later, the meaning of the lotus flower continued to extend. When we say "hibiscus out of the water" and "out of the mud without staining", it has a more secular meaning. In the tomb of Zhu Tan in the early years of the Ming Dynasty in Shandong, this "White Lotus Picture" by Qian Xuan, a great painter of the Yuan Dynasty, was unearthed. Qian Xuan was a remnant of the former dynasty under Mongol rule. Qian chose a very light color and light ink to paint this flower, and it is necessary to distinguish it carefully, as if looking at a flower in the fog and rain. It is no longer religious, but a self-portrait of an intellectual, an expression of the author's individual spirit.
▲ Qian Xuan "White Lotus"
7. Tang wood brocade dress figurines - the triumph of beauty
The seventh thing to talk about is a lady figurine from the Tang Dynasty.
▲Wooden brocade dress figurines 29.5 cm high Tang Dynasty (618-907)
In 1973, the tomb of Zhang Xiong and his wife in Astana, Turpan, Xinjiang was unearthed
Collection of Xinjiang Uygur Autonomous Region Museum
In 688 AD, Zhang Huailian, who was an official in Chang'an, bought this lady figurine, whose skin was made of earth and wood, but the clothes were all kinds of silk fabrics. She was like a girl next door, with a double-ring high bun, a pink face, a mouth like red cherry blossoms, and wide and long black eyebrows, which was the new fashion at that time. Tang Shizhong said: "Once the new makeup throws away the old one, the six palaces compete to paint black smoke eyebrows." "She had a flower on her forehead, a slanted red cheek, and makeup on her cheeks. The shirt, skirt, and drapery she wore were typical three-piece suits at that time. The sleeves of the shirt are green silk, and the front and back plackets are double-sided brocade; The flowers on the brocade are full of beads, which are patterns from the Sassanid dynasty of Persia; High-waisted floor-to-ceiling floral skirt with alternating red and white. The silk is grass green, and the skirt is covered with light yarn. Her belt is the earliest silk we have seen, and it is a very important craft.
Zhang Huailian's father, Zhang Xiong, was a high-ranking official in Gaochangguo and had died a few years ago. At this time, because his mother died, Zhang Huailian ordered this batch of funeral goods. Starting from Chang'an, we walked to Gaochang City, which is today's Turpan, four or five thousand miles away. Due to the dry climate of Turpan, this figurine made of silk and wood has been preserved.
There are many images of women in Han Dynasty art, but they are often preserved in Confucian moral tales. For example, there is a story in the "Biography of the Daughters" about a woman who was very beautiful, and after her husband died, the king sent messengers to propose marriage many times, but she insisted on keeping the festival. She had no choice but to cut off her nose with a knife. This story is found in the Wuliang Temple in the Han Dynasty, and the "Book of the Later Han Dynasty: The Biography of Empress Liang" mentions that the queen often watched the "Column of Girls" when she was a child. However, in "The Biography of Song Hong", it is mentioned that Liu Xiu, Emperor Guangwu of the Han Dynasty, peeped at the picture of the girls on the screen, which caused Song Hong to be furious and said: "I have not seen a good virtue like a lustful person!" It can be seen that people could not be the beauty of women in art at that time.
▲Shandong Jiaxiang Eastern Han Dynasty Wuliang Temple (151 years) Liang Gaoxing portrait
By the Tang Dynasty, craftsmen would paint beautiful women straightforwardly, without the moral constraints of Confucianism. These little girls are all beautifully drawn and even sexy. In this era, Confucianism had declined, Buddhism flourished, and foreign cultures entered in large numbers. This is the triumph of beauty.
8. Tang Dynasty Character Flower and Bird Pattern Luodian Lacquer Back Bronze Mirror - Leisurely See Nanshan
Scholars have their own way, if they are not satisfied with the real world and have no power to return to heaven, they can leave the world and go to the mountains to become a hermit, bringing a harp and a pot of wine.
This is a bronze mirror from the National Museum's collection, which is made with complex techniques and materials. Raden, that is, large shells, cut out the individual image elements, and then glued to the bronze base plate with lacquer.
▲Figures, flowers, birds, patterns, luodian lacquer back copper mirror, diameter 24 cm
Tang dynasty (618-907)
In 1955, the tomb of the first year of Xixing (784) in Luoyangjian, Henan Province was unearthed
Collection of the National Museum of China
The most famous hermit-themed artworks found in archaeological discoveries are the Seven Sages of the Bamboo Forest and the Rongqi Period brick paintings in the tombs of the Southern Dynasty, and there is a set of rubbings in the "Ancient China" exhibition of the National Museum. The Seven Sages of the Bamboo Forest are all literary scholars and behave strangely. Some of them were rebellious, distancing themselves from the dominant ideology, "going beyond the name and letting nature go", but these famous figures were popular in the arts, and even the emperor liked them. The base of these frescoes in the tombs of the emperors of the Southern Dynasty may have been made by famous artists.
▲Painting of the tomb of the Southern Dynasty in Gongshan, Xishanqiao, Nanjing (partial)
The values of scholars are often very special and personal, but they occupy the commanding heights of the spirit, so their pursuits will lead the fashion of the whole society. In the Tang Dynasty, some poets sang about these otherworldly hermits in the most ornate language, such as a poem by Lu Zhaolin. In this way, it is not difficult to understand why the picture style on this bronze mirror is so gorgeous, the materials are so diverse, and the technology is so complex. This is the transformation of the vulgar and the elegant, and there are many examples of this in history. Everyone knows that Su Shi's paintings are a rebellion against court painting and professional painting, but this very personal style, which everyone imitates, will also become cliché.
9. Tang painted pottery "Mountain Zun" - lying down to swim
This is a small clay pot in the collection of the Luoyang City Museum, with a height of 14.2 cm. The exterior mural of this jar is a landscape painting, which was unearthed from the tomb of Empress Mourning of Tang Gongling in Yanshi Nanwu Town. Gongling is the tomb of the crown prince Li Hong, and Hong was buried in the second year of the last century (675). The following year, the crown princess Pei died, and she was buried in Gongling for three years (687), and nine years later she was posthumously mourned as the "Queen of Mourning".
▲Painted pottery "Yamazun" 14.2 cm high Tang Dynasty (618-907)
The tomb of the Empress of Tang Gongling in Yanshi Nanwu Town was unearthed
Collection of Luoyang City Museum
The painting on the clay pot can be seen as a landscape painting. Landscape painting is the most representative type of Chinese painting. In the past, when it came to early landscape paintings, we had very limited materials, but now we can see small landscape paintings from the end of the seventh century, which is very rare. Archaeological excavations in recent years have provided us with a lot of new materials, such as a large landscape screen in the mural of Han Xiu's tomb in 740 AD.
▲Landscape map of the north wall of the Han Xiu Tomb (740) in Xi'an
We also found a mural of Liuqu landscape screen in the tomb of Li Daojian, the king of Silu in 738. You can see that the screen is placed against the wall, and in front of it is the coffin bed, which is reminiscent of "Song Shu Zong Bing Biography". After Zong Bing was old, he couldn't play everywhere, so he painted the landscape on the wall, "Clearly contemplating the Tao, lying down to swim", "holding the piano and exercising, wanting to make all the mountains sound". We can now imagine that his landscapes may have been painted on the screen of such a large bed.
▲Tomb of Li Daojian, King of Lu, Zhujiadao Village, Fuping (738)
The mural on the west wall is a six-song landscape screen
Recently, in a tomb in Pingshan, Hebei Province in 904, a long horizontal screen was found on which the ink landscape was also painted. Ink landscapes have always been considered the interest of literati such as Wang Wei, and the owner of this tomb is the mother of a county magistrate, so it can be seen that ink landscapes have influenced other social levels and become a fashion for a while.
▲Cui's tomb in Pingshan Wangmu Village, Hebei Province (904)
The landscape screen on the inner wall of the stone coffin
In the Mogao Grottoes of Dunhuang, you can also see the green landscape, which is the background of the Buddhist story. The Chinese are telling Buddhist stories in their own way, and these landscapes have become its basic background.
▲Dunhuang Mogao Grottoes Cave 103 Lotus Sutra changed into a city metaphor
Look back at the clay pot. Some scholars believe that this is the Tang people's imagination and reconstruction of the "mountain honor" in the Zhou ceremony. In other words, people are expressing their understanding of the classics in the artistic language of the times.
10. Southern Song Dynasty Longquan kiln celadon vase - the meaning of the past
In the Tang Dynasty, little is known about the form of pre-Qin ritual vessels recorded in the literature. After the rise of Jinshi in the Song Dynasty, people expanded their knowledge about the classical era. This era is a bit like the Renaissance in Europe, where the classical art of Greece and Rome inspired new creativity, and the same was true during the Song Dynasty. People have a new understanding of the artifacts of the classical era, and the new knowledge not only stays in books, but even affects the artistic production of the time.
▲Longquan kiln celadon vase is 26.6 cm high, 7.7 cm in diameter, and 8 cm in diameter
Southern Song Dynasty (1127-1279)
In 1991, it was unearthed in Jinyu Village, Suining, Sichuan, and collected by the Sichuan Song Porcelain Museum
▲ Yucong height 49.2 cm Neolithic Age
Collection of the National Museum of China
A celadon vase from the Longquan kiln of the Southern Song Dynasty unearthed a few years ago imitated the image of prehistoric Yucong. According to the records of the Book of Rites, the jade cong was used to sacrifice to the earth, and some people believe that the shape of the cong contains the concept of "the sky is round and the place is round". In archaeological finds, jade cong is a burial object from a high-class tomb, with an animal face and an image of a god (or sorcerer) that resembles a miniature carving. But this Song Dynasty porcelain is different, it has a bottom, which is both Cong and not Cong. Its shape is like Cong, but because of the bottom, it has become a bottle, no longer up and down, the original religious function is gone, it is no longer a jade ritual vessel. The purpose of this bottle is not yet known, but it may be used for flower arrangement, or for other elegant decorations.
▲ Titian, Divine Love and Worldly Love, 1514
We can compare the great Renaissance painter Titian's "Divine Love and Secular Love". Some scholars in the West have noticed that the place where the two women sit in the painting is actually an ancient Roman sarcophagus, and there is a cherub stirring the water inside. Look closely, there is a copper tube on the sarcophagus, which was added later. The cherub stirred the water, and the water flowed out of it. Some scholars have put forward an interesting explanation, which they believe may symbolize the fact that the knowledge of the classical era produced the living water in the new era, and the Renaissance was such an era. For the people of the Song Dynasty, the art of the Bronze Age also had the same value.
▲Photo by Professor Zheng Yan and Huo Hongwei
Once cultural relics are excavated from the ground, they become a part of our world, "thousands of years and the present are happy in the same spring", time becomes plural and folded, and history becomes tangible. In the museum, each of us can establish our own connection with these artifacts through our own eyes. Everyone has different feelings when looking at cultural relics, and can have their own observations and thoughts. I like Siyang Fangzun, you can not like it, you can have a personal experience and choice. What I have said above is only to put forward some angles of observation and thinking about the problem, not the final conclusion. What I emphasize is the careful observation and experience of the object itself, not just to take a photograph.