Aesthetic Study Of "Empty" In Traditional Chinese Painting

This article is the aesthetic studies of"empty"in traditional Chinese painting, based on the art of "empty" in Chinese painting and artistic aesthetic culture implications. First, the author describes "empty" in traditional Chinese painting from the audiences'view and its artistic presentation. Namely: "empty" is material, such as: sky, light, water, road, even all the background of figure painting, take sky, light, empty water for example; "Empty" in reality, such as: clouds, snow, water, smoke, fog etc, take clouds, water vapor, and snow for example. Reality in "empty": such as: cabinet, stage, pavilions, corridor, bridge, and use FeiBai to draw feather, dry writing brush to draw rocks etc, take pavilion, bridge, feather for example.Then the author analysis the beauty of "empty" in traditional Chinese painting, reveals that the "empty" in painting containing Chinese artistic spirit. For Chinese painting, "empty" is the original Qi, Qi itself is one of China's traditional artistic spirit, is the spirit of art of life. Only have "empty", can vitality and spirit through the painting and achieve the lively state, but this kind of charm and beauty have different spiritual directions. This is from the charm of aesthetic layer to the spirit of art layer. Namely: the same lively Chinese traditional painting has different aesthetic spiritual points. One kind of flavor refers to"tao"directly. It stimulates to movement, be perennial and points to the spirit of Chinese traditional art "Dao" and "Dance". The other kind of flavor leads into the door of illusory, which shows Zen, and every picture is illusory. This points to the spirit of Chinese traditional art "Heart" and "Enlighten". Another kind is containing the endless virtue of pines, wise bliss, which is the righteous spirit of nobleman and points to the spirit of Chinese art "Heart" and "Peace". This tends to analysis the aesthetic implication of "empty" from three aspects: Confucianism, Buddhism and Taoism.Finally, On the basis of the analysis of aesthetic implication of "empty" painting, the author excavates the cultural connotation of "empty", reveals the origin of cultural philosophy and artist's psychological motivation. Namely: for natural tiandao of Taoism, thought of empty in Buddhism, self-sufficient natural aestheticism in Confucianism. Because according to Taoism "empty" contains everything, "empty" is the beginning of a concept of longitudinal waves caused by artist "flow", then nothing but for and beauty into stillness. The core of taoism s ideology is the concept of "Tao",the connotation of which is "naturalness" and "action through inaction. Because according to Buddhism "empty" is everything, the eternal doctrine makes the painter to know life is but like a passing dream, and all is vanity. Even painting also reveals the earth from empty beginning to empty, so there is beauty of illusory. Because the Confucian regarding individual utility as "empty", attach importance to merits and virtues, and scholars value self-sufficiency, gentlemen must have the heart of morality, be concerned about the affairs of state before others, and enjoy comfort after others.Traditional Chinese painting is not only"painting", the"empty"is not merely empty. Not only"painting", because it embodies the spirit of Chinese culture. Not merely"empty", because it was subject to Chinese culture Qi. This kind rhyme of spirit and ups and downs of Qi needs person who have intention to taste it slowly.