Philosophical Thinking On Chinese Painting Techniques,Arts And Dao

Based on the perspective and position of Chinese philosophy,this article explores Chinese paintings and elaborates them from the three aspects of techniques,arts,and Taoism of Chinese painting:First,philosophical thinking on Chinese painting techniques."Technology" as the most basic form of expression of painting,is limited to the limitations of literati painting,and it is rarely discussed in ancient painting theory.However,the importance of "technology" is self-evident.As we all know,"technology" is the most intuitive and important part of any type of painting.As the most basic expression means of art,"technique" is not the artist's "meditation",nor is it simply applied from somewhere,but comes from the artist's temperament personality,creative motives,and the status quo of the creation needs to solve "problems".Sensitive choice is the artist's "cutting point",truly effective,and fresh and powerful expression.As a basic form of expression attached to the art from concept to concept,"technique" is an indispensable thing in the network of artists' creation of ideas.This is one of them.Second,"technique" is the medium for artists to express their ideas.She is the appropriate dose of the artist in the creation,linking and combining his source of creative inspiration with a certain kind of "material".Thirdly,any style of painting is the most intuitive and most fundamental in its use of "techniques" to enumerate and maintain its own "physical" and "caste."Fourth,the artistic and cultural genes that have been handed down from time to time for the "technology" of the arts have also been broken through the mutual confrontation and mutual support between"technology" and "anti-technology."Second,philosophical thinking about Chinese art.Amie Thomasson once stated on the ontological status of the artistic works involved in the ontology of art:"The main questions of the study of art ontology are:what kind of entity is the work of art?They are physical objects,types of ideas,imagined entities,or What else?How does a variety of works of art relate to the artist's or viewer's inner state,physical objects,or abstract visual,auditory,or linguistic structures?Under what conditions does the artwork begin to exist,continue to exist,or cease to exist?" "Whether it is a Western painting or a Chinese painting,she is neither equivalent to a "physical object independent of the mind"nor an imaginary object equivalent to "in the mind." Painting seems to be somewhere in between.After she has contained the subjective intentions,emotions,and other subjective traits in the heart,the artist has used the"reconstruction" of physical objects made from different materials.As Amie Thomasson puts it:"To accommodate paintings,sculptures,and the like,we must give up the simple division between entities outside the soul and the entities inside and the heart,acknowledging that it depends on both ways in the same time.The physical world and the existence of human intentional entities."This compels us to return to the metaphysical problems,to think about the entities in the metaphysical "three-in-one" category,and to try to develop a broader and adaptable to "becoming" and "improving".The multi-art ontology category system,in turn,will allow us to obtain better art ontology and better metaphysical things that "revolve with things and heart".Among these,the metaphysical "Tao,is a representation of "Art."As Mr.Zong Baihua said:"The splendid 'art' endows the Tao with the image and the life,and the Tao' gives the 'art' the depth and the soul."Therefore,the "art" of Chinese painting is the subject of creation.Sex,character,spirit and other inner and outer condense,ceramics under the second esthetic from the "physical field" into "psychological field".Third,philosophical thinking on Chinese painting.The term "aesthetic" in the West derives from the "Aesthetik" in German.This is Baumgarton's first understanding of the United States as a subject of perception or feeling.It is thought that based on emotional experience,people appreciate certain emotional changes that occur in nature,life,and art,or experience that causes some pleasure.Visible,Western aesthetics is concerned with the aesthetic experience,emotional and emotional aspects.China and the West belong to different civilizations and cultures,and their ideas are fundamentally different.Compared with the same period,Western philosophers are eager to pursue and explore knowledge.Chinese sages advocate the "anti-self learning" and emphasize the necessity of poverty and life.Emphasizing that people must transcend theexternal material world and integrate into the universe's life world and stretch their spirits.In short:"surpassing life." This is the core of Chinese philosophy.Whether it is a "real world" constructed by Daoism in the"integrity of things and things but not things" or the Confucian awakening of the humanistic spirit in the theory of "human nature for good",even Zen is not standing.The "community sense" and "empathy"of the "Writing of the People" and "Let the people drink water" and the"warmth and self-knowing" path of thinking of the "Quality Method" are all supporting the Chinese people's pursuit through the "taste" and "sense"of life.High philosophical wisdom and realm.Therefore,the aesthetics produced under such a philosophical background are not aesthetics in the sense of the west or sense,but aesthetics beyond life.The world experienced in Chinese aesthetics is not only the so-called Sensibility of the object world of material existence,but the reality of life experience.This characteristic of Chinese culture also determines that the life spirit of philosophy will inevitably be extended to the arts and must be fully embodied in art.