Three Aspects Of The Concept Of A Sense Of Movement Through Spirit-resonance In The Contemporary Academic Context

Based on the contemporary academic context,this article uses the method of concept history to make a detailed discussion on the specific connotation of a sense of movement through spirit-resonance in the three dimensions of Chinese painting,Chinese aesthetics and Chinese culture.“A sense of movement through spirit-resonance” is the core concept of ancient Chinese painting theory,which presents the life attribute and life implication of ancient Chinese literati and painters.Secondly,the modern aesthetic interpretation of this concept gives the Chinese classical aesthetic concept a concrete form in the modern sense,Chinese classical aesthetics has gained a new historical life in the extended vision and retrospective tradition of modern scholars.Finally,this concept has realized the connection and complementarity with western art concepts in the cross-cultural communication,the active elements in Chinese traditional culture have been reactivated.This article adopts the research method of conceptual history,which is mainly based on the consideration of aesthetic modernity,it is hoped that the historical context of concept generation can be restored and the specific discourse practices of different groups in history can be further discussed in detail on this basis.This article is divided into four chapters.The first chapter reviews the overall conceptual history of “a sense of movement through spirit-resonance”,discusses the specific historical evolution of this concept in the history of painting and the specific transformation process after entering the modern aesthetics,the research shows that the change of this concept in the historical process shows the progression from painting to aesthetics to different levels of culture,the process of historical evolution reflects the emergence of the individual consciousness of Chinese painting theorists and the changes of the mainstream art spirit in past dynasties,after entering the modern academic context,the cultural context of modern Chinese aesthetics is found in the opposition and imitation of tradition.The second chapter mainly expounds the specific meaning of "a sense of movement through spirit-resonance" in Chinese painting,which depends on the artisticpractice of literati and painters in past dynasties,it points to the painter's subject level and the picture's performance level respectively.Firstly,the subject level reflects the self-flaunting and self-publicity of the ancient literati and painters,which mainly highlights the independent and free character of the painters in their artistic works.Secondly,the external art form is centered around the painting and composition.The artistic expression of fine ink is the fundamental purpose of artistic communication,while the presentation of the overall painting effect depends on the proper treatment of the composition of light and shade.The above two are the specific expression languages of the concept of "a sense of movement through spirit-resonance" in Chinese painting.The third chapter focuses on the modern discourse practice of aesthetician groups on "a sense of movement through spirit-resonance" in the process of Chinese aesthetic modernization,it is the carding about expounding connotation and expounding method mainly,the change of its connotation in the modern academic context partly comes from the remolding interpretation of western modern aesthetics,it is incorporated into the cognitive horizon of western aesthetics,later,because of the difference of the epistemology between Chinese and western aesthetics life ontology,the strong inertia of classical aesthetics is aroused.Therefore,the later understanding of this concept is trying to return to its own classical aesthetic characteristics.In terms of the evolution of the concept of "a sense of movement through spirit-resonance" in modern aesthetics,we can think that the construction of Chinese modern aesthetic system and theory has been in the process of continuous rational reflection.The fourth chapter focuses on the aesthetic complexity embodied in the cross-cultural communication of the Chinese cultural concept "a sense of movement through spirit-resonance",through the restoration of the international dissemination,translation and reinterpretation of the concept of "a sense of movement through spirit-resonance" in the early 20 th century,we can see how the Chinese classical aesthetic concept in the process of modern transformation and western thought and aesthetic experience of historical exchange.In the process of spreading to the outside world,Chinese artistic concept has activated its own ideological power,it shows the unique continuity and profundity of Chinese culture,the cross-cultural communication of the concept of "a sense of movement through spirit-resonance" and the cycle of interpretation provide a route for the new writing of "global art history".Through the above four chapters of the detailed discussion,this article finally illustrates the unique aesthetic value and profound cultural background of the concept of "vivid spirit" in the contemporary academic context,this concept first condenses thethinking blood of ancient Chinese painting theory,modern scholars have realized their own creative transformation in the continuous integration of historical vision and modern vision,the concept of Chinese classical aesthetics has important contemporary value,the modernity embodied in the cross-cultural communication also provides specific ideas and effective references for the communication and dialogue between Chinese traditional art and world art.