| As an important writer of contemporary poetry,with the ability of calligraphy and painting as well,Jia Pingwa’ s calligraphy and painting creation and literary creation are in an interactive state since the early 1980 s.The practice of calligraphy and painting has become an important method for Jia Pingwa to deeply understand the traditional Chinese culture and its aesthetic expression,which has inspired his continuous exploration in the way of literary expression.Literary creation has become a fundamental basis for the creation of its calligraphy and painting,and it has developed different artistic realms because of its unique ideas,learning and the realization of life.In the postscripts of many works,Jia Pingwa also explicitly talked about his exploration of the article’ s method,which stems from his understanding of the theory and creation of calligraphy and painting.Therefore,taking calligraphy and painting creation and its theoretical perspective as a reference,understanding Jia’s aesthetics and its core characteristics is an important way to promote Jia Pingwa’s research.This thesis intends to explore the aesthetics of Jia Pingwa’s novels from the perspectives of the important conceptual categories of the three theories of painting and calligraphy,that is,“qi yun”,“virtual reality” and “realm”.Meanwhile,with reference to Wang Zengqi and Mu Xin’s paintings and literary creation,this paper further explained the decisive role of personal heart and feelings in the creation of literature and calligraphy.The first chapter focuses on “vivid” and “integrated style”.The so-called “Qi” means“energy” and “air”;“Rhyme” refers to the “flavor” and “charm”.In the paintings and literary works,it is the “magic” and “rhythm” outside the image.As for its foundation,it is people’s innate and acquired cultivation as the “Qi” that is agglomerated.It is the externalization of the individual’s mind and talent.What kind of heart,there is a corresponding charm.“Qi” can be divided into “rigid” and “soft”.The works of “rigid”are more vigorous and urgent,and the works of “soft”are more delicate and soft.The quality of “Qi” is different,and the style of the works is different as well.Jia Pingwa’s works since the 1980 s have always focused on the“soft”,such as Ruined City and White Night;the characteristics of “rigid” are sometimes emphasized,such as Happy Dreams and The Lantern Bearer.Jia Pingwa also stated on many occasions that his hometown is the boundary of Qin and Chu.His heart is therefore characterized by both the flexible characteristics of the Chu culture and the abundance of the Qin and Han culture.The formation of this integrated style is undoubtedly associated with it.The interaction of the two qualities is an important entry point for understanding Jia Pingwa’s works.The second chapter focuses on the relationship between “virtual” and “reality” in Jia Pingwa’s works.“false and true complement" is one of the most important features of traditional painting.Based on the depiction of real images,the creation of a unique virtual environment is an important pursuit in Jia Pingwa’s novels,which is also one of the signature features of his works distinguished from other works.Such as A Dream of Red Mansions in Fantasyland and Grand View Garden as against the background of the outside world,Jia Pingwa’s main works all have similar “virtual realms” to form a reference to “reality” and thus express his basic views on the life world.In Jia Pingwa’s novels,Lao Sheng is the most representative of the state of spiritual interaction created by “virtual reality”.The core story of Lao Sheng is the four significant periods of in the Chinese history during the 20 th century,of which the world changes,but still has a certain continuity.With the reference to the true image of the Chinese people held in The Classic of Mountains and Seas,it is not difficult to find out the writing purpose of Jia Pingwa for a century.Taking this as an entry point,we can also deeply understand the basic characteristics of Jia Pingwa’s works.The third chapter focuses on the “realm” of Jia Pingwa’s works.“Realm” refers to the level of thought and spirit that the work has touched,which is in common with the four realm of Feng Youlan.The level that the spirit reaches when it embodies the deepening of life and the expression of freedom is the “realm”.“Realm” is also the purpose of “spirit” and “virtual reality”.From the intense passion for writing in the 1980 s to the reality of the problems in the1990 s,the exhibition of the Ruined City shows another unique world,and the continuous spirit of the new century works like Qin Opera,The Ancient Furnace and Lao Sheng.The core of Jia Pingwa’s works is still the Chinese classical thought being interpreted as the basic spirit of Confucianism and Taoism.The active use of Confucianism and the peripatetic of the Taoists,as well as the fusion and intermingling of Buddhist Zen meditations,are also important ways in which Jia Pingwa’s works are unfolded.The fourth chapter is based on Wang Zengqi and Mu Xin’s literature and calligraphy and painting creation,and further explores the significance of the interaction between Jia Pingwa’s painting and literature.Wang Zengqi has undergone great changes in history,his works do not take great images,but many are far and small.This choice is derived from his transcendental attitude after the experience of human beings.Muxin has received professional training in painting works,the technique is more rigorous.After going to the United States,he was a little bit psychologically depressed.Both literature and painting contain his more complex mentality.The work is less bright.And no matter what landscape is,the works are immersed in a melancholy.Their styles are different from those of Jia Pingwa’s.The fundamental reason for the difference is the personality and feelings of the individual.Therefore,through the comparison among Wang Zengqi,Mu Xin and Jia Pingwa’s literature and calligraphy and painting,the deep interactive relationship between calligraphy and painting and literature can be further revealed. |
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