On The Cultivation Of "body" And "mind" In Chinese Calligraphy And Paintin

The theory of "body" and "heart" in Chinese calligraphy and painting is a theoretical problem related to aesthetic education and aesthetic cultivation.This article has studied it from five aspects.First,the connotation of the concept of "body" and "heart" is defined from the perspective of philosophical aesthetics."Body" and "heart" concept of cultivation constitutes the theoretical source of the theory of "body" and "heart" in later generations,and provides them with two basic theoretical paths: first,internal nourishment;the second,external training.Secondly,I examined the thoughts of the early calligraphy and painting "body" and "heart",and then learned that the theory of calligraphy and painting in the six Dynasties of the Han and Wei Dynasties not only started to pay attention to the state and role of the main body "body" and "heart",but also the inner connections of "body" and "heart" in calligraphy and painting,as well as the important connection between "body" and "heart" and the form of calligraphy and painting.At the same time,during this period,a group of important "body" and "heart" theory of cultivation appeared,such as Yangxiong,Zhao Yi,Cai Yan,Cheng Gongsui,Suo Jing,Wei Yan,Wang Xizhi,Wang Xizhi,Wang Xizhi Wang Sengqian,Zong Bing and Wang Wei in the field of painting.A series of important concepts they proposed made the "body" and "heart" cultivation issues formally transitioned from the context of the philosophical context to the aesthetic context,becoming a aesthetic issue.Third,the "nourishing the heart" in the theory of calligraphy and painting contains the following main propositions.For example,highly concentrated mental state,formation of taste,cultivation of temperament and aesthetic inspiration.From the perspective of calligraphy and painting theory,highly concentrated concentration ability,interesting choice ability,temperament expression ability,and the ability of aesthetic sense of aesthetics are not inherent,the main body is cultivated and promoted through a certain method in the practice of acquaintances.Fourth,the "self-cultivation" in calligraphy and painting theory includes the following main propositions.The theory of "habits" in the theory of viewing and painting,as well as the theory of physical strength in calligraphy theory.It is learned that a healthy and energetic body is an important physiological condition for painting and calligraphy activities.Secondly,regardless of calligraphy or painting,the main body is required to eradicate poor physical experience and habits,and re-construct a good physical experience foundation that is good at mastering skills,so as to rely on this trained body to carry out aesthetic and creativity expression.Fifth,the theory of cultivation of the "body" and "heart" of calligraphy and painting pointed to the realm of "body" and "heart".This article believes that the realm of the so-called "body" and "heart" is reflected in the following two main forms in the aesthetic activities of calligraphy and painting.First,in the creation of calligraphy and painting,the unconscious state of "body" and "heart",which means that after accumulating a certain amount of cultivation,the subject can often get"body" and "heart" nourishment in the "unconscious" creative state.Feel the physiological "body" and the "heart" of the spiritual level are integrated and vibrant.Second,in the painting and calligraphy appreciation activity,the "body" and "heart"double aesthetic and pleasant state,which means that after experiencing a certain amount of cultivation,the subject can experience the physiological joy and even the"heart" in the process of appreciating the works."The spiritual pleasure,this sense of joy also nourishes" body "and" heart ",making" body "and" heart "dripping from the inside and outside.