Today I would like to recommend a book of aesthetic philosophy, the title of which is "Twenty Lectures on Zong Baihua's Aesthetics".
Published by Gu Wuxuan Publishing House, the "Twenty Lectures on The Aesthetics of Zong Baihua" is 32 open and the size is 880 * 1230.
"Twenty Lectures on Zong Baihua Aesthetics" uses a bare ridge in a thread. The advantage of this kind of binding is that the book is not easy to drop the page, and the page can be turned to nearly 180 degrees, which does not affect the feeling of reading. For example, the Tang Dynasty Chu Suiliang's "Preface to the Pavilion of Glan" that appears in the book is cross-page, and because of its binding method, it is not affected at all.
The author of this "Twenty Lectures on Zong Baihua's Aesthetics" is Zong Baihua, and this book is edited by Liu Yuedi, an advocate of life aesthetics and a researcher at the Institute of Philosophy of the Chinese Academy of Social Sciences.
The whole book is divided into four parts: Chinese art, Chinese painting, Chinese calligraphy, music architecture, and aesthetic walking, and it is from these four aspects that Chinese aesthetics.
The cultivation of beauty lies in distance — the beauty produced by distance
This is somewhat similar to what we call the distance to produce beauty, the faint scene under the bright moon, or the light street market under the dark night, are the distance to produce beauty, the same wind and rain can also form an interval, so a scene of smoke and water, the achievement of poetry, but also a pictorial meaning.
The light of beauty comes from the source of the mind – without the reflection of the mind, there is no such thing as beauty.
Thinker Amir's: A natural landscape is a realm of the mind; painter Shi Tao's: Mountains and rivers make spears to the mountains and rivers also... The mountains and rivers meet the spear god and the traces are also traced. This is precisely the reflection of everything with the mind, which is precisely the artistic conception in art.
This mood varies from person to person, place to place, and scene to scene. For example, the Ming Dynasty painter Shen Zhou's "Writing Huai Sending Monks" cloud: the Ming River has a shadow outside the clouds, the dew is silent in the ten thousand trees; the Qing people Sheng Qing Yong "White Lotus" cloud: half of the river is full of moon, where the cold clouds on the bank are fragrant; Yuanren Yang Zai's "Jingyang Palace Looking at the Moon" Cloud: The earth mountains and rivers have a slight shadow, and the nine days of wind are silent. One is the weather, one is the contemplation, and the other is affectionate.
Artistic conception is expressed in the work - the realization of life in the body.
In the realm of art and philosophy, explore the inner self. What Zhuangzi said: The void is born white, and the only way is to collect the void. It is Chinese experience of the Tao, that is: to see the popularity in the empty silence, and to see the emptiness in the popular place.
Beauty is characterized by the core of life—the deepest thing inside life.
The beauty of Chinese painting lies in the rhythm of life in the whole frame. For example, Tang Zhiqi's "Painting Things": Ink Shen stays in the river shadow, and the pen and flowers pass on the stone god. The introduction of calligraphy into Chinese painting has also become a feature of Chinese painting. The poetry scene is in the painting scene, and the painting integrates the poetic heart, which has become the second feature of Chinese painting. Rather, it is entirely aimed at the rhythm of life.
Throughout the book, there are quotations of poems, such as the English poet Breck's: One Flower, One World, One Sand and One Heavenly Kingdom, The King's Palm Is Boundless, and the Moment contains eternal destruction. For example, Song Monk Daocan's "Chongyang": Heaven and earth are one east fence, and all eternity is one heavy nine. Such as Yuan Ren Ma Dongli's "Tianjing Sand" and so on.
Throughout the book, there are famous paintings. For example, Huang Gongwang's "Fuchun Mountain Residence Map" of the Yuan Dynasty, such as Monet's "Rouen Cathedral at Noon" in France, such as Yun Shouping's "Imitation of Ni Zhan Ancient Wood Bush Map" and so on.
Throughout the book, there are famous names posted. For example, Zhang Xu's "Four Ancient Poems" of the Tang Dynasty, such as the "Book Genealogy" of Sun Guoting in the Tang Dynasty, such as the Western Zhou Dynasty's "Da Lu Ding Inscription" and so on.
At the same time, the book also analyzes Chinese and Western painting methods.
The Western painting style is biased towards the spatial consciousness of sculpture and architecture, while the spatial consciousness of Chinese painting is based on the spatial expression of Chinese calligraphy.
Zou Yigui pointed out the three main painting methods of Western perspective: the perspective painting method of geometry, the perspective painting method of light and shadow, and the perspective painting method of air. The Western perspective painting method conjures up the spatial structure on the plane, and its core is a symbol of bitterness.
This "Twenty Lectures on Zong Baihua's Aesthetics" takes us to appreciate the ancient and modern poems at home and abroad, appreciate the famous paintings and posters of famous artists, and comprehensively and systematically summarize Zong Baihua's 20 articles on Chinese aesthetics, introducing Zong Baihua's achievements in aesthetics.
Aesthetics is not in books, not in paintings, but in our lives, words that can be seen everywhere, paintings that can be seen everywhere, and poems that can be read everywhere, feel that human life flows slowly in the beauty of art, which is a unique Aesthetics of China.