The Connotation Of "Truth" As The Aesthetic Category Of Chinese Landscape Painting And Its Ecological Aesthetic Implications

"Truth" is an unavoidable concept in the development of Chinese painting aesthetics,especially in the theory of landscape painting.In this paper,the author tries to analyze the connotation of "truth" from the perspective of jing hao,guo xi and han dynasty,and explore the Chinese artistic spirit and its ecological aesthetic implication.In the pre-qin literature,the concept of "good" and "beauty" was mostly mentioned by zhuangzi and his contemporaries,but there was hardly any "truth".It is not until the book of zhuangzi that the concept of "true" began to be valued and became one of the core concepts in the theory system of zhuangxue.Involved in the"chuang tzu" "true",mainly has two meanings:one is the way of nature,2 it is the nature of things,zhuangzi about "true",its core is to respect the natural attribute of the universe,correct human with nature,with tiancheng,resist the secular spirit to life and universe,attaining the state of nature and humanity.The aesthetic thought of its "the truth of law" has important guiding significance to Chinese painting.In the history of painting,the concept of "true" has not been clearly defined before the written law,but the connotation of "true" is carried out,and it is reflected by different concepts.In the five dynasties,jing hao first explored the concept of"truth" and put forward "tuzhen".The ideal of "tuzhen" in the book of strokes is an argumentation after the brilliant argumentation of "hua","real" and "true"."Tuzhen"requires that the painter should not stay in the description of the appearance of the landscape,but should express the spirit essence and spirit of the object through the image,and the nature of things and the nature of things.Jinghao's so-called "true" is a complete unity,which is the unity of "shape" and "temperament","hua" and "reality",and the unity of inner spirit and external appearance.In general,the connotation of the"true" category in the written law can be summarized into three levels:the true nature of the form,namely the objective and true state of the natural scenery;The truth of tao,namely the law of the object and the inner spirit,expresses the truth of the universe through the object.The true of the heart,namely the painter's subjective feeling,the painter's true feelings,the true nature in the freedom of the pen and ink,after the two are integrated,and blend.After the stroke of the pen,guo xi's "Lin quan gao zhi" and han's "pure and beautiful mountains and rivers" have further elaborated and deepened the concept of"zhen".Guo xi put forward the important concept of "true landscape",which refers to the spiritual landscape with inner life spirit,to explore the "true landscape",which needs "to be taken from the mountains and rivers"." On the basis of summarizing the predecessors,the han dynasty embodies the requirement of writing "true",advocating the "ancient law,the realistic mountain",for the truth of the matter,and the principle of things.The connotation of "true" contains rich ecological aesthetic wisdom.Landscape painting creation,content my blend mode of the beauty set up on the cultural foundation of "nature and humanity",asked the artist to follow the natural way of life in the process of aesthetic creation,with equal affinity to look natural,and eventually into nature,make art create a physical manifestation of the road of life.The aesthetic ideal of "true" is based on the philosophy of "gasification theory",which requires the work temperament to embody the spirit of life and vitality of the universe.