Study On The Category Of "Image" In Classical Painting Aesthetics

The category of "image" is not only the meta-category of Chinese classical aesthetics,but also the core category.Tracing back to its origin,Zhouyi and Laozi have provided its philosophical foundation and also endowed it with a preliminary but profound aesthetic meaning."Image" is a product of the combination of objective image and subjective spirit,which has the function of communication under and above form.It is rich in connotation and all-embracing.It is a kind of isometric,intangible and meaningful "construction".Accordingly,this paper divides it into four types: "the image of all things","the image of the heart","the image of the outside" and "the image of no image",which are respectively oriented and corresponding to the realistic and freehand brushwork tradition of Chinese painting.The related painting theories include "the image of the object","the imitation of the law","the vivid portrayal","the picture truth theory","giving up the form and pleasing the shadow","the wonderful between the likeness and the dislikeness","the clear image of the taste","the empty space of the land".The relevant philosophical views include the wei and Jin metaphysics,the Confucian philosophy,the Buddhist philosophy,the Zen philosophy and the category of literati painting "painting poetic","painting with true feelings" and "painting with ease".It can be said that the theories of "object image","image" and "artistic conception" are deeply influenced by philosophies of Confucianism,Buddhism,Taoism,metaphysics and related painting theories,as well as by painting creation practice.They have a progressive relationship,showing the unity of history and logic,and point to the most fundamental existence,"Tao-the image without image",which represents the essence of life and the spirit of the universe.Around these four "images",the author enumerates the corresponding painting theory or point of view to discuss,in order to distinguish its origin and sort out itscontext.Thus reveals the influence of the "image" category of Chinese classical aesthetics on painting aesthetics.