References:
The course of beauty, four lectures on aesthetics and the course of beauty are divided into ten chapters, each of which comments on the artistic spirit of an important period or the development of an art category. It is not a work of art history in a general sense, and its focus is not on the detailed appreciation of specific works of art, but on organically linking aesthetics, art and the whole historical process with the aesthetic view of anthropological ontology, revealing the functions and influences of various social factors on aesthetics and art, and making a general analysis and explanation on the development of China's classical literature and art.
The author thinks that the change of artistic interest and aesthetic ideal; It is not determined by art itself, but in the final analysis, real life determines them. Therefore, to examine the literature and art of an era, we must first examine the social, economic and political conditions of that era. Every chapter of this book follows this ideological framework. Here, the sixth chapter "Buddha's World" is taken as an example to illustrate. This chapter discusses the art of Buddhist grottoes. The author divides it into (a) Wei and Jin Dynasties, (b) Early Tang Dynasty, (c) Late Tang Dynasty, Five Dynasties and Song San. From the development and evolution of these three periods, we can clearly see how art is determined by social conditions.
The 400 years from the demise of the Eastern Han Dynasty to the establishment of the Tang Dynasty was a period of great turmoil in China's history. Dynasties change frequently, wars are frequent, the oppression and exploitation of classes and nationalities are cruel and barbaric, and there are often tyrannical killings and endless suffering. There is nothing fair and reasonable in the real world, so Buddhism has entered people's hearts, and people have been comforted in religion and can escape from the real world. Therefore, it is reflected in the art of grottoes, such as cutting meat to feed pigeons and giving one's life to feed tigers, which has become the main theme of murals, which is undoubtedly an artistic portrayal of tragic reality; In addition, the characteristics of Buddha statues in grottoes are quiet, superb and elegant, which is in sharp contrast with the world and makes people place desperate hopes and beautiful ideals on it. At this time, the sculpture of the Northern Wei Dynasty formed the peak of the ideal beauty of China sculpture art, which was the first period. The second period was the early Tang Dynasty, and the society was peaceful and stable, so the aspirations and religious requirements of the Buddhist country changed. In the grottoes, the Buddha statues have more human feelings and intimacy, and the cruel and tragic scenes and pictures in the murals have disappeared, replaced by various fantastic "Elysium! Buddhism. The grotto art in this period is called "an illusory ode to happiness and dreams" by the author. The third period began in the middle Tang Dynasty, when the economy was relatively developed, the imperial examination system was established politically, the influence of secular landlords increased greatly, and the middle and upper classes widely pursued luxury enjoyment. China's feudal society began to move towards the later period. This historical change was completed in the Northern Song Dynasty. All this is reflected in Dunhuang murals: the portrait of real life gradually occupies an important position in murals, human life overcomes the belief of heaven, and the image of art transcends religious teachings. In Song Dynasty, sculpture was also different from Wei, Jin and Tang Dynasties. It is not a speculative god (Wei) or a dominant god (Tang), but a secular god, that is, the image of human beings. At this time, the grotto art has little religious significance. The evolution of grotto art in these three periods shows that the development and change of art are closely related to the development and change of society.
Another example is the seventh chapter "The Voice of the Tang Dynasty". When it comes to the art of the prosperous Tang Dynasty, I believe most people will think of Tang poetry first. Tang poetry is a typical representative of the flourishing Tang art and the peak of China's poetry art, so why did it appear in this era? The author's analysis gives the answer. The Tang Dynasty was the most glorious era in ancient China. In the early days of the empire, it was very powerful politically, financially and militarily, and it was relatively stable and unified at home. On the one hand, it is the exchange and integration of North and South cultures, on the other hand, the developed trade and transportation between China and foreign countries have also brought exotic cultures. This is an unprecedented exchange and integration between ancient and modern China and foreign countries. It was the social atmosphere and ideological basis at that time to introduce and absorb fearlessly, to create and innovate without restraint, to break away from convention and tradition. Politically, official titles have increasingly replaced the status of valve reading and become the highest honor in Tang society. The gentry in the former dynasty were suppressed, and the influence of the secular landlord class continued to rise and expand. The establishment of the imperial examination system enabled intellectuals to become officials through examinations, participate in and master political power at all levels, broke through the monopoly of the gentry in the former dynasty, and opened a new road full of prospects to them. Waiting for them to explore. Individuals, nations, classes and countries are all in the rising stage of prosperity. Under such social conditions, the art of the prosperous Tang Dynasty and Tang poetry were born. It contains the affirmation and feeling of human reality, and is full of youthful enthusiasm and imagination. Even if it is joyful, depressed and sad, it still shines with the light of youth, freedom and joy. At first, King Lu made poetry move from court to life, and Zhang made poetry a new song for teenagers. Four outstanding figures in the early Tang Dynasty, such as Wang Bo, transformed the sentimental feelings of young people in A Moonlit Night on a Spring River into a concrete song full of ambition and achievements. Finally, Chen Ziang shouted, "Where have all those lost times gone before me? Behind me, where are the future generations? ... "The voice of the Tang Dynasty began. From then on, frontier poems and pastoral poems were good at winning games. The former is brave and fearless, while the latter is beautiful, quiet, clear and healthy. And Li Bai, with his wild spirit and genius, played the strongest sound of the art in the prosperous Tang Dynasty. Tang poetry and Li Bai only existed in the prosperous Tang Dynasty.
In this book, the author discusses the rise and evolution of painting, sculpture, architecture, literature, calligraphy and other art categories in various times through careful investigation. And under the full case analysis, the artistic spirit of each important generation is pointed out in highly concise language:
The literature and art of Han Dynasty reflected achievements and actions. Wei-Jin demeanor and sculptures in the Northern Dynasties showed spirit and speculation; Poems in Tang and Song Dynasties and landscapes in Song and Yuan Dynasties express the state of mind. Literature and art in Ming and Qing Dynasties, represented by novels and operas, depict secular human feelings.