| Chinese painting is influenced by the unique Oriental philosophy, are taken by Chinese classical philosophy, however, to form the \born love civilizing, beginning unify, and by-pass\ of China’s enlightenment of the aesthetic consciousness and interest. Therefore opened this unique in the history of Chinese aesthetics from value standard. Chinese traditional painting deeply about this later. In all the early pre-Qin philosophy of Zhuangzhou’s character the most aesthetic meaning. At the same time, the spirit of zhuangzi has detached most dirty high of\ESCAPE\ of the world. Zhuangzhou’s philosophy a lot of influence to the later aesthetics spirit. Escape is a form of life and mental state, Zhuangzhou by big of panhu swim in the river’s lake, or lay lie in any of the township, open field under the tree. To spiritual freedom, the freedom of behavior is to \ESCAPE\ for lifestyle, detachment of temperament is the spirit of\ESCAPE\. Prevalence of metaphysics in Wei-Jin period and later, the influence of prajnaparamita philosophy this detached attitude to life and spiritual consciousness in the fusion with the pre-Qin escape of the people thought formed in the invasion of art under the special aesthetic value scale \Escape\ the cold.\Cold Escape\ by generations of painters beauty critic asiatics, as the highest aesthetic pursuit of Chinese painting. The pursuit of Tao from landscape to form, and cold extrusion of highly generalization and reveal the spirit of the word. In Ni Zan work let a person feel bleak emptiness, Jane has already free and natural,as no desire hopeless thought glides gracefully. Dong Qichang paintings are leaves, solemn, quiet a natural ease. Hongren’s images of meteorological and brutal serious free and natural. Gong Xian so bleak cold in the end of time. Huang Binhong changes the previous feminine escape as revealed a new era of high cold and serious escape. These are from cold to elevate Chinese painting and the mental state of the universe. |
PDF Full Text Request