On The Aesthetic Connection Between Zhou Yi And Traditional Chinese Painting

For millions upon millions of years, among the vast collection of Chinese ancientcodes and records, there is no book that can parallel Zhou Yi leaving so profound andwide effect. It is known that there are more than three thousands kinds of booksproviding illustration of it. Moreover, the ancients took Zhou Yi as the top of its kind,calling it holy theory. It is considered as the origin of Chinese ancient culture as wellas the headspring of every science.Zhou Yi is composed of two parts, namely I-Ching and Yi Zhuan. I-Ching is abook for divination, and Yi Zhuan is a book on philosophy. Nevertheless, the thoughtpertaining to Yi Zhuan is established by based upon the special structure and auguryof I-Ching divination. Therefore, such two parts are different in content while relatedto each other in modality, forming a wonder combination of philosophic ideology andreligionary augury. In Zhou Yi, the modality is the number of diagram and the contentis the argumentation. As the content and modality are nonseparable, the argumentationand diagram number are closely integrated.Our study of Zhou Yi with aesthetic view aims at revealing the connectionbetween Zhou Yi and traditional Chinese painting art that we are engaged in. In termsof study method, in this paper, attention is paid to that the book Zhou Yi is a far morespecial phenomenon in the history of ideology at home and abroad. Both its modalityand content should be attached sufficient importance to. According to the studymethod used in this paper, the I-Ching and Yi Zhuan are studied by combing them.For the matter of this, the study and comprehension of Zhou Yi are in accordance withthe aesthetic method of Chinese classical aesthetics. Zhou Yi involves preciousaesthetic ideology, for instance, unyieldingness, solidness and brilliance in I-Chingrepresent the perfect aesthetic ideology of our nationality, while yin-yang doctrine anddiagram hermeneutics have influenced Chinese aesthetics all the way. In Decoration,Diagram 22, Part One of Zhou Yi, rich connotation in Chinese classical aesthetics iscontained, in particular, the aesthetic essence of Chinese painting aesthetics and thelaw of the development of traditional Chinese painting. For example, "Six-five"symbolizes the aesthetics of landscape, and "highest nine and white decoration"Confucius' aesthetic ideology advocating ultimate simplicity and chastity of painting.By this paper, the connection between Zhou Yi and traditional Chinese paintingwith respect to aesthetics will be discussed in depth, and in the meantime, abundantaesthetic value implicated in Decoration will be annotated, whereby mining the deepaesthetic connotation of Zhou Yi. This is of practical significance for raveling thedevelopment skeleton of Chinese art, improving the taste of art and seeking theinherent rule between traditional Chinese painting and Zhou Yi.