Seclusion And Beyond

In the history of Chinese painting the earliest criterion of criticizing painting was canonized as 'Divine, Wonderful, Capable and Detached'. But these four terms have been controversial, leading to the final focus on 'detached' and 'divine' with the question of which one was more superior than the other. Since Yuan Dynasty, it was generally recognized that 'detached' was more superior than 'divine'. Therefore, we will make a rational investigation, in terms of objectively and dispassionately historical vision, on the core value of 'detached' painting - the genesis, development of 'detached' consciousness and its uniquely social context, in particular on the relationship between 'detached' painting and traditional-cultural ideology. Such way of investigation is no doubt one of the important ways of knowing traditional art in light of contemporary reason.The aesthetics of Zhuangzi has occupied a rather important place in the traditional-cultural ideology, offered the crucially cultural gene to the traditional art and been given new meanings endlessly. It not only provides the mode of objective and rational thinking, but also enables the mind of innate sensibility to capture problems to filter and crystallize them via high culture and high cultivation. This is one of the ways of experience identifiable with Chinese painting, especially with 'detached' painting, which is revealed by what is profoundly contained in the philosophical dimension of Zhuangzi thoughts, as an experience of life consciousness on a deep level. Such depth, that of strong tension resulting from sensitive mind, also stems from the deep understanding of traditional culture. Departing from experiencing life consciousness and surrounding by life dilemma, hardship and self-alienation, the philosophy of this kind aims at spirit extrication to look for a free, detached kingdom of life, which is cleansed of self-alienation by going beyond sufferings and sorrows. That is to say that it is borne out of sufferings, and simultaneously transcends it. This is the core value of not only Zhuangzi aesthetics, but also of 'detachedness' aesthetic thoughts. Thus Zhuangzi aesthetics has an internally and logically theoretical relation to the development of 'detachment' consciousness.A Japanese scholar Imamichi Tomonobu argues that Chinese ancient aesthetics and literary theories 'reveal a poetic vision of the universe to human being, a secret of art, a secret of non-being, but also the beauty of transcending hero.' So he thinks it very important today to study the eastern aesthetics, especially Zhuangzi, which will bring new breath into today's world.We live modern industry and are drowned in the blind following of material civilization, scientific omnipotence and human rationality, so in such an era of seeking commodity value and stressing utilitarian effects, and a times of highly developed rationality and mechanization and computerization, how is human's soul placed? How is artistic value judged? How is aesthetic interest appreciated? These are the realistic and ever-lasting questions, by which the modern western thinkers are confused and taken into consideration.Zhuangzi aesthetics stresses on the freedom of individual spirit as one of the earliest statements in the history of human ideologies and thoughts, and proposes to liberate human spirit from self-alienation of 'only fame', 'only interest', and 'only the world'. Detachment consciousness takes a quiet, care-free attitude, in the harmonious communion with nature by man, and in the self-forgetfulness of subject disappearing into the vast cosmic spirit, to enjoy life and the world as a dreamland, an aesthetic imagery in order to excel in its spirituality for eternal extrication. The problems dealt with by Zhuangzi and 'detached' artists are of urgent and instructive importance for today.The dissertation tries to draw out the interrelationship between the detachment consciousness and Zhuangzi aesthetics through investigating the origin and development of 'detachment' and the coming into being of 'detachment' consciousness as well as the concrete analysis of 'detached' artists. Of them what is implied aesthetically is not commented upon its correct conclusion, but upon its revelation and implication occurred in its thinking process, which are best described by its profoundity of problems concerned. It is of methodological significance to modern artists.Zhuangzi aesthetics and detachment thoughts are a kind of resourceful and complex system with deep and wide contents endowed with the multiple possibilities of understanding of its vision. If we are able to comprehend the essence of this aesthetic significance from the general tendency of human spiritual development, to find out the unique contribution of Zhuangzi and detachment aesthetics to the human spirituality, and to recognize their place in the evolution of human aesthetic experience, it would be what its true and eternal life lies, and perhaps what Chinese aesthetic thoughts are crucial to the meaning of the world, as Imamichi Tomonobu says.