«——【Preamble】】 ——»
Kant's aesthetics of fun put forward three well-known contradictions of the two laws, among which the contradiction of the two laws of individuality and universality is the most difficult contradiction to solve, and it is also an important problem that constantly plagues people's body and mind. Dong Qichang is one of them, do you know the interest of the late Ming Dynasty?
«——[From Poetic Fun to Material Interest: The "Fun" of the Late Ming Dynasty Art Circle——»
"Fun" is an important category in the ancient Chinese literary and artistic circles, and theorists of the past dynasties have also expressed "fun" differently, such as Yan Yu's "interest", Su Shi and Huang Tingjian's "heavenly interest", and Yuan Hongdao's "sexual and spiritual interest", these theories focus on explaining the aesthetic characteristics and creative methods of poetry.
Tianqu is the seamless and natural imagery contained in Wang Wei's poems; Curiosity is the abnormality and strangeness in the poem, and there is no trace of an axe and chisel; The Savage Fun focuses on the rustic atmosphere of the countryside in the poem, and the ascending and distant refers to the imagery contained in the poem based on the special spatial location".
It is worth noting that the interest in the eyes of these poets was repeatedly depicted by the painter and became the interest in the painter's heart. For example, Wang Wei's poems are called "there are paintings in poems, and there are poems in paintings", and Liu Zongyuan's poetic imagery was depicted by Dong Qichang.
As for ascending to the heights, burning leaves and planting flowers, it is the theme that literati paintings are keen to express. This kind of transformation of the relationship between poetry and painting does not occur in the pen of all poets, but mainly occurs in writers with high cultivation of calligraphy and painting.
Both emphasize the subtlety, timelessness, elusiveness and comprehension of fun, but the context of the two is different. Yan explained the characteristics of poetry and its relationship with creation in the context of Zen enlightenment. Yuan, however, shifted to the context of Confucian personality, emphasizing the mental characteristics of people with a pure heart.
More importantly, in addition to the philosophical context, Yuan Hongdao also criticized the fashion atmosphere at that time: "Today's people admire the name of fun and seek the same taste, so they have to distinguish calligraphy and painting, and dabble in antiques to think that it is clear; The meaning is mysterious, and the dust is far away. And below it is like the one who burns incense and makes tea in Suzhou.
This kind of fun fur, what a look. Fourth, appreciating calligraphy, painting and antiques, burning incense and making tea, these very popular fashion activities at that time were degraded by Yuan Hongdao as "fur" The essence of fun is the expression, obviously Yuan Hongdao emphasizes the unfettered human spirit of fun.
«——【Fun and Effort: The Establishment of Urban Mountain and Forest Lifestyle·】——»
Yuan Hongdao represents the best form of interest in the field of literature, and Dong Qichang represents the best form of interest in the field of art", which is related to the development trend of different art categories. In the field of literature in the late Ming Dynasty, the Qing dialect essays were mainly short and concise, and the artists mainly tasted the ready-made things as readers.
Dong Qichang's task is to solve the generative logic of material interest, stand in the position of producer, and use a series of cultural practices to construct material interest. Dong Qichang's thinking on the interest of things is embodied in the theory of the Northern and Southern Sects.
His ideas are consistent with Yan Yu's theory of "interest", which is to think about the laws of artistic creation from the perspective of Zen enlightenment. Both of them think about the laws of artistic creation from the perspective of different sects, explain the artistic conception of art from the perspective of artistic style, and explain the problem of artistic accumulation from the perspective of artistic teachers.
Dong Qichang's corresponding terms from these three perspectives are "Painting the North and South Two Sects", "Door Court", "Innocent and Faint", "A Super Straight Man is Like a Place", "Enlightenment", "Taking the Ancients as a Teacher, Heaven and Earth as a Teacher". The relationship between the three is based on the "plain and naïve" style.
In order to achieve "plain and naïve", we must think about creation with "enlightenment", and "enlightenment" must be understood by studying famous works in history. In fact, these works are the result of the artist's "travel of thousands of miles" and the recognition of references.
If we use Kant's contradiction of the two laws to explain, it is "natural fun" and "effort". This contradiction includes the place and its symbols: the dust of the imperial city and the mountains and forests of the city. If you are in the imperial city, you will be covered with dust, and your soul will be blinded.
If you are in the urban mountains and forests, you can observe the natural interest, read the antiquities with the natural interest, and then realize the Tao. Just as urban mountains and forests are a way of life, their core aesthetic taste is the pursuit of "plain and innocent".
Plain innocence is an artistic discourse that reveals the natural nature of the literati and the genius of creation. Its connotation requires the literati to find a way to realize the freedom of life. Generally speaking, the literati of the Ming Dynasty mostly held various official positions and assumed social responsibilities, and lived a pragmatic life.
How do you characterize or indicate nature? Yunshan is a suitable carrier. As a landscape that symbolizes the freedom of the literati's heart, the clouds around the mountain were revered by the ancients, and one of the most famous texts is Tao Hongjing's poem in response to Emperor Wu of Liang's edict asking "What is there in the mountains?"
"Ink stains" is the shading method advocated by the Southern Sect. Although this method is a depiction of the clouds and mountains in front of us, because the changes in the interaction between ink color and paper are not within the subjective imagination of people, people should actively carry out certain shaping and intervention with the change of ink form.
«——[Refinement of Material Taste and Metaphor of Human Nature]——»
According to the painting tradition of "Xuan Mian Talents" is the group of "Qi Yun Shengzhi", the high-ranking officials and artists listed by Dong Qichang are rhymers who transcend the world, and their creations are the expression of natural human nature, and their human behavior has social exemplary significance.
Dong Qichang's reliance on them not only gave his own artistic theme and style an authoritative force, but also determined to build a cultural homing model for the "hairpin tree banner" at that time to combine social personality and artistic taste with social personality and artistic taste.
In the early Ming Dynasty, the thought of mountains and forests in the Hanlin world was still entrenched in the late Ming Dynasty, and it was a norm for people not to travel, and Yuan Hongdao's pursuit of the vase of flowers in the dining room in Beijing was a manifestation of this situation. Dong Qichang was able to break through this barrier, mainly due to his nostalgia for the fun of the mountains and forests.
This does not mean that Dong Qichang has forgotten his identity, many of his works use official seals, and the poetic pursuit of Lin Kui's migration shows that the focus of his thinking on the relationship between the city and the mountains and forests has changed, that is, he no longer focuses on the imaginary mountain and forest scenes.
As a member of Lin, he did not simply transplant the mode of discovering the interest of objects with the eyes of Bede in the early Ming Dynasty to characterize the nature of the literati, because Bede has always relied on learning, separated from real enlightenment, and cannot produce the curiosity of empathy with things.
He is also interested in the object obtained through viewing, but it is extended to the field of landscape, which changes the importance of landscape viewing, that is, the traditional artistic conception appreciation and ambiguous off-picture interest become unimportant, and the understanding brought by the object interest is important.
Dong Qichang emphasized the function of landscape to realize the mind. Since it is impossible to play with the landscape as a small object, it cannot be grasped by turning the side of the object, and can only rely on the position of the body and the change of gaze.
There are no figures in Dong Qichang's images, and the body is reduced to a perspective. Dong Qichang uses the separation and fusion of perspectives to express a sense of dynamism. In general, landscape painting follows the viewing logic of habitability and swimming, and although the line of sight is dynamic, the angle is basically the same.
When the viewer browses the scenes, the height of the gaze is basically the same, and the state of a single overhead is roughly maintained, the space is the objectified subject-object space, and the viewing is also a homogeneous behavior, without indicating the viewing action of the eyes.
Dong Qichang wants to express the sense of movement implied by the combination of scenes in the painting, and of course he can no longer adopt this kind of imaginary single visual appearance. He speculates on the dynamic relationship of the scene in the painting through his perception of the action of viewing.
A change in perspective is a representation of a change in perception. Lin Kui's poetry intentions generally have three sections: Jiashu, Open House, and Hengshan. The composition first adopts the entire waterfront composition structure of Ni Zhan, and the house is placed at the foot of a spacious and bright vista mountain, and there is a tendency to look down, looking at the foreground, indicating the owner's control over the living environment.
Paradoxically, the trees in the foreground are quite large, with clear and delicate textures, which seem to be objects in the foreground, while the central water suggests that the line of sight becomes higher, which seems to drive the foreground downward or outside the painting, suggesting that the painter's perspective may be outside the painting, somewhere in the extension of the water.
If you look at the vista from here, the size of the house should be smaller, more like what you see from afar. Different perspectives seem to meet in the middle of the scene, and if the gaze is substituted for the human action, it can be assumed that the viewing behavior here is that the gaze of the distant view is both backward and controls the distant mountains.
The gaze of the foreground meets in the central waters, and the gaze of the middle ground integrates the foreground gaze on the one hand to make it go to the outside of the painting, and on the other hand, it merges with the foreground gaze for a short stay, so as to play with the object, that is, the delicate texture of the trees.
The curiosity created by Dong Qichang in the images is a kind of object interest that fully mobilizes the body, gaze and visual perception, and the refined analysis and presentation of them is the means of representation of Dong Qichang's creation of the aesthetic taste of the late Ming Dynasty Hanlin group and the urban mountain forest lifestyle.
«——【·Conclusion·】——»
The value of these strategies and their cultural forms can be more clearly articulated in the class differentiation of late Ming society. We can compare the cross-class material interest represented by Yuan Hongdao, the Bide material interest represented by Chen Hongshou and the enlightenment-style material interest represented by Dong Qichang.
The basis of all three is to emphasize the unpredictable and natural characteristics of material taste, as well as a metaphor for the human freedom of the high-ranking rhyme, the difference is that Yuan Hongdao talks about the material interest is a fragmented small interest.
He invoked the theory of the pure heart, adhering to the tenet that everyone is a saint, focusing on children or clumsy people who maintain simple characteristics, transforming material interest into the humor of viewing, but ignoring the construction of a systematic strategy to solve mental problems based on material interest.
Information sources:
"Dong Qichang Annals"