"Yi" In The Criteria Of Art Criticism

"Yi" is an important concept of Chinese classical art criticism."Yi" has different status and connotation in different historical periods.But at present,the definition of "Yi" is too vague and scattered,and it is mixed with too many subjective language,which shows the blending and permeability.Although "Yi" is too fragmentary and complex,according to logical thinking analysis,it can still make a clear context.The context of the article is based on the origin,connotation,evolution,position and contemporary value of "Yi" in Chinese classical art criticism.Based on the time background that "Yi" became the standard of art criticism,this paper holds that "Yi" originated from Li sichen of Tang Dynasty,was established in Huang Xiufu of Song Dynasty,and reached the peak level by Ni Zan of Yuan Dynasty.In the Ming and Qing Dynasties,"Yi" produced generalization and gradually reduced its status.In this paper,the three periods of "Tang","song" and "Yuan" are taken as the main research scope of "Yi".In the selection of art categories,most of them are calligraphy and painting.Based on the theory of Chinese calligraphy and the relevant materials of "Yi" in the theory of Chinese painting,this paper makes an analysis.Focusing on the changes of "Yi" in history,the application of "Yi" in specific art categories,and the relationship between "Yi" and "God","Miao" and "NENG",this paper discusses "Yi" as the standard of art criticism,and finally holds that "Yi" is the highest standard of art criticism.Although "Yi" is a concept of Chinese classical aesthetics,it still has a very important academic value for the construction of Chinese discourse system of art.