Singular Delights And Forms: From Daily Life To Singular Aesthetics

The general principle of art is to express universality by particularity. Throughout the history of painting, the artists have been always observing the world from the particular and unusual perspective. The concern about the daily and present and the pursuit of singular delights, forms and surprise formed almost the entire history of Chinese and west painting. The real work of art is often the integrated expression of a variety of complex factors: the individual and society, the visual and metaphor, form and subject matter, the specific and the classic, image and performance etc. In today's world, the visual styles become increasingly rich, cultural awareness increasingly flat. For the artists who use traditional media, it not only relates to the survival of individual, but also maps the pulse of the times and makes the future of the visual ecology clear that to explore consciously, innovate, broaden the boundaries and integrate to bring forth the new in the intersection of history and culture, tradition and modernity, region and nation. The paper analyzes the current crisis in the visual arts and the deep social impetus of aesthetics shift. The embodiment of singular delights and forms in daily life and artistic creation is illustrated in the paper, as well as the social foundation of beginning, development and growing prevalence of singular aesthetics. Also, the paper analyzes and combs the performance of singular beauty in the art history from the perspective of artistic form trend. It responses alienation by singular beauty and interprets the trend of multiple aesthetics nowadays. From the demarcation of the past and future, singular beauty is not only an inevitable demand of the times but also the reflection of Chinese cultural spirits-"everything in the universe with different delights goes to the same","the same essence with different forms", and"harmony without uniformity". Taking an overview of 500-year glorious history of realistic painting, the generalization of singular aesthetics has just begun from the time span, not only for equal consideration. From single aesthetics to multiple aesthetics, from single media to multimedia, from the revolutionary painting during the Cultural Revolution to today's embarrassing allegory of society, painting now is undergoing another period of prosperity in history. What is different, this time it is not realism but the tide of singular aesthetics, not only the competition with the new media, but also the power of the singular aesthetics. We have reason to believe that the visual arts experiencing the suffering from new media, after all, will once again be reborn.