Study On The Aesthetics Of Form And Spirit In Wei,Jin,Southern And Southern Dynasties

As for the different answers about what "form and spirit" is,in fact,the different interpretations made by different schools of thought in the Wei,Jin,southern and Northern Dynasties based on their own theoretical system have inherited the former concept of shape and spirit as their own understanding when they made new interpretations.Therefore,there are still clear clues in the process of dynamic interpretation of shape and spirit.We can find that the construction process from "the concept of form and spirit" to "the concept of form and spirit" in the category of aesthetics is also the construction process of Chinese aesthetic concept.First of all,on the aesthetic level: the metaphysical concept of form and spirit with human and life as the core,the relationship between "shape” and “spirit” from the criticism of characters to Ji Kang’s health preservation theories,which makes Chinese form and spirit pay attention to the sum of life and look at the relationship between form and Spirit from the perspective of life;immortality and Transcendence of God from the perspective of Buddhism: the theory of form and spirit of Buddhism is based on immortality,such as Zongbing and Xie Lingyun In the transcendence of "spirit",people hope to realize the transcendence of mind,inner view of mind,intuition,and expression of all things in one mind;the form and spirit from the perspective of Confucianism,the form and spirit from the emotion,the form and spirit from the emotion,the form and spirit of Confucianism,the ethics and practicality of people.The scholars of originally poor,such as fan Zhen,advocate that Buddhism is harmful to politics and the spirit of physical death dissipates;or Liu Xie,such as Liu Xie,hope to inherit the Scriptures and understand the way,and rely on the spirit of character in his poems to make peace with the country by means of articles,all of which relate the problems of the spirit and the ethical feelings.With the integration and development of Confucian culture in the folk and other cultures,the people can draw strength from the emotion of "benevolence and filial piety",and get the release of emotion in the unity of opposites between emotion and propriety created in the novel.Secondly,in art theory: Ji Kang put forward the formal beauty of music image in the "Music is Irrelevant to Grief or Joy",which made music art no longer the appendage of political ethics and realized self-consciousness.He separated the symbol limitation of music naming,and let music return to aesthetic activities;the combination of character evaluation and the three-layer aestheticstructure of Chinese aesthetic image formed by Wang Bi’s metaphysics theory formed the combination of the three-layer aesthetic structure“ Under the influence of Buddhism’s thought of "immortality of the spirit",people think that the soul is immortal,which makes the Chinese aesthetic object include all living things.Under the summary and refinement of Zong Bing,"landscape" becomes an independent aesthetic object in the art of painting.In Zong Bing’s theory of landscape painting,"Enjoy sceneries without physically travelling " shows a creative method of focusing on the mind and expression.From the theory of creation to Xie Lingyun’s poetry,he used the method of Epiphany to create from space into time,using the method of poetic intuition,Then Liu Xie expounds the relatively perfect theory of literary creation which is not limited by the objective body.Finally,in the mode of "leaving the soul" in the Tales of mystery and the supernatural,it can be seen that the theory of creation triggered by "Spirit" made Chinese art creation break through the limitation of real time and space;in the poetry of Wei and Jin Dynasties From the charm of "Fenggu" to Jikang show his ideology with death,it constructs the Vigorous Spirit of Chinese scholars,and then to Liu Xie’s systematic summary of "Vigorous Spirit",which makes "Vigorous Spirit" one of the core concepts in literary criticism.Finally,in the specific field of Art: Gu Kaizhi’s "writing Spirit with shape and having both" shape and spirit " established the aesthetic concept of Spirit is more important than shape in art,and the unity of shape and spirit leads to the coexistence of reality and falsehood ";Xie Lingyun’s poem "pond grows spring grass " shows the scene of a sudden encounter,from the scene into the country,showing the aesthetic interest of blending feelings and scenes;the artist of the separation of shape and spirit in the strange stories Comedy ending reposes people’s hope for a better life.The happy ending of reincarnation in the strange stories greatly affects the aesthetic preference of Chinese audiences.The emotional touch in the happy ending is still the aesthetic attitude of Confucian harmony.The aesthetic attitude of harmony brings up the warm style and color of Chinese art.In the discussion of different levels of the issue of "shape and spirit",the "shape and spirit" gradually evolved from a philosophical category to a pair of aesthetic categories,and in the practice of art,it extended and expanded,together with other aesthetic categories,to form a large number of artistic traditions in the Wei,Jin,southern and Northern Dynasties,and finally promoted the development of Chinese aesthetics.