| The holistic view with equating all things is one of the most important thoughts in the spirit of traditional Chinese culture.In my creative practice in recent years,I gradually find that the characteristics conveyed by the picture are close to this chaotic overall view.This kind of holistic view derived from the ancient mother god is very different and beneficial from the continuous dismantling mode of thinking in my long-term education.Meanwhile,I am also surprised that it is more consistent with my thinking mode of observing and expressing the world in my creation.As an important discussion of "transformation of material" in Lao Chuang philosophy,"equating all things" is widely applied to the painting practice of later generations,and effectively reverses the view of " transformation of material" through the discussion of the relationship between void and full in abstract language.The origin of the topic selection and the research method and path are introduced in Chapter 1.In Chapter 2,"Spiritual Unity of‘me’and Things in Abstract Painting",I mainly analyze the philosophical connotation of " equating all things" and its derivative in painting,The boundary between things and between me and things disappears.The philosophical idea of the Mother God retained its maternal characteristics,and it is transformed into "Tao".One of the most representative characteristics is the filling state of "chaos" in the Mother God,which can also be called the overall view of "being and non-being interdepend in growth".Later,Chuang tzu developed On the Equality of Things,that is,“transformation of material” or called "Equating all things ".In painting,it is specifically manifested in the realization of abstract language,and the creators discuss the relationship between void and ful to further reach the disappearance of the boundary between things and things,and the disappearance of the boundary between things and "me".I try to apply the above understanding in the exploration of traditional Chinese painting works and my own creation practice,and I use literature research methods and comparative research methods to analyze the aesthetic phenomenon,painting work cases and my own creation practice respectively.I mainly discuss through the following two aspects: First,in Chapter 3,the deepening expression of the relationship between virtual and real in painting works.Second,in Chapter 4,the statue of “equating all things”in the constituent elements of personal creation.The former includes the discussion of the spatial depth changes in the plane,and the sense of visual law and the rules of the spiritual world.In the discussion of spatial depth change,the south wall of the main room of Cave 112 in Mogao Grottoes is discussed respectively,and the dislocation of concave wrong version and image depth in personal practice.In the discussion of the sense of visual law and the rules of the spiritual world,the paint coffin and the expression of trent in personal practice are expounded;The latter analyzes the flat refining of lines to things in personal creation and eliminating the differentiation characteristics of objects in different things,and tries to explain how to achieve the unity of "me" and things in chapter 2 in personal creation through the abstract language in the logic of these statue.Finally,we can clarify how the metaphysical “ equating all things” is applied in the painting practice through abstract language,in order to achieve the spiritual expression of “equating all things”. |
