The Research On The Aesthetic Thought Of "Changshen" In Wei And Jin Dynasties

"Chang shen" is not only an important painting thought in ancient China,but also reflects the spirit of Chinese art.It first appeared in Zong Bing's painting theory called Hua Shan Shui Xu.The basic connotation of "Changshen" theory refers to that when people take an aesthetic view of natural landscapes and landscape paintings,they get rid of the bondage of secular interests,and finally in the aesthetic realm to think about "the appearance of the Tao" and appreciate the idea of the universe.This artistic spirit of freehand brushwork has gradually become the core of Chinese art.Whether it is artistic creation or appreciation,it refers to the thought of spiritual freedom.This paper is divided into three parts to systematically study the thought of "Changshen".The first chapter introduces the ideological and cultural background of the theory of "Changshen".The Han,Wei and Jin Dynasties were a period of great changes in Chinese history,which also brought a second golden age to ideology and culture.This paper first introduces the academic turn under the influence of the background of the times,the external political oppression,which makes intellectuals turn from group consciousness to individual consciousness,breaking through the confinement of Confucianism's etiquette and ideology,and pursuing free spirit in Lao Zhuang's thought.The mainstream of culture has changed from Confucianism to metaphysics and turning to the remote speculation of metaphysics.Secondly,the change of literati's aspiration from official to seclusion and the consciousness of individual spirit directly inspired Zong Bing's theology of Changshen by turning the pursuit of external official career to the exploration of internal personality,the pursuit of pleasure in the spiritual world,the discovery of beauty of mountains and rivers and the finding of spiritual habitat.Finally,the pursuit of literature and art has changed from realistic description of external forms to Spiritual Similarity of freehand brushwork in literature and art.The ideological turn of the whole Han,Wei and Jin Dynasties can be attributed to the general trend of turning from external to spiritual on the basis of individual spiritual consciousness.Therefore,the "shen" turn can be saidto be the spiritual pulse of the Han,Wei and Jin Dynasties.The second chapter systematically discusses the aesthetic form of "Changshen".Firstly,the concept of "Chang Shen" is clarified,and the text of " Hua Shan Shui Xu" is interpreted to understand "Chang Shen" in its context of production.Secondly,this paper analyses the aesthetic mind needed to achieve the spiritual realm of "free spirit",namely “chenghuaijingguan”,the aesthetic level of "free spirit" shows that not only the beauty of mountains and rivers makes the subject spiritual pleasure and emotional pleasure,but also the free spirit is generated from the exploring the "Tao" of the universe ontology is the highest level of "Changshen".Finally,it discusses the influence of "Changshen" as an aesthetic thought in art form.Taking the specific artistic forms and texts of painting and calligraphy as examples,it shows that "Changshen" is not only a theory of painting,but also an aesthetic idea permeating into concrete artistic creation and works of art.Calligraphy cursive is far from practical but expresses one's mind directly and becomes an art for scholar-bureaucrats to rely on their thought.In the lifelike character modeling or the landscape nature,people's aesthetic spirit and pursuit melt into it.Calligraphy and painting reflects the pursuit of "shenyun" and the aesthetic experience of "changshen".The third chapter,taking the change of landscape aesthetics as the object,analyses the similar concepts of Chang Shen,such as "Shen Feiyang" and "Yue Qing",and the opposite concepts of "Bi De",and highlights the characteristics of "Chang Shen" and the extension of its connotation in the comparative study.The scholars in Wei and Jin Dynasties no longer paid attention to the moral symbolic significance of landscape,but only regarded landscape nature as a pure aesthetic object.Zong Bing put forward the theory of "Chang shen ".At the same time,Wang Wei put forward the similar concept of "Shen Feiyang" in Xu Hua and Yao Zui's theory of "Yue Qing" in the Southern Dynasty,which were similar concepts in pursuit of spiritual pleasure brought by Xu Hua Ping.The connotation of these similar concepts enriches the level of Changshen Thought,makes it more dynamic,and makes the subsequent painting theory have the implication of Changshen Thought.Finally,the inheritance and development of Changshen Thought in the later painting theory are simply sorted out,forming a complete development thread.