Research On The Integration Of Aesthetic Categories Between The Literary Theory And Calligraphic Theory In The Song Dynasty

Literature and calligraphy belong to two different forms of artistic expression.Literature is the carrier of language and writing.It concentrates the society and expresses the author's thoughts and emotions,while calligraphy reproduces the beauty of Chinese characters and the temperament of the calligraphers.Although both have their own independent development process and law,they are interrelated.In many ways,creation and aesthetic of freehand brushwork and emotion,method and content,the close relationship between literature and calligraphy are mutual influence,mutual communication,distinctive form China traditional literary poetry one".The Song Dynasty is the history of cultural development Chinese heyday,poetry and painting and other art activities are very prosperous,between different art creation and the theory of mutual infiltration will be more obvious and widespread phenomenon.Su Shi,Huang Tingjian,Cai Xiang,Mi Fei,Ou Yangxiu,Zhu Xi,Lu You and Jiang Kui is the outstanding representative of the world,they not only left a rich precious artistic heritage in literature and calligraphy creation,but also in literary theory and calligraphy theory also for future generations to leave a very valuable ideological wealth."Category"is the generalization and reflection of human thinking to the general nature of objective things.The aesthetic category is the rational summary of the aesthetic feeling,experience and understanding of the subject,and the crystallization of aesthetic ideas and aesthetic ideas.The"category"form of thinking provides us with an effective tool to understand and grasp the characteristics and laws of the mutual infiltration of ancient literature and calligraphy.This study suggests that Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)category is a typical core category of literature in the Song Dynasty,calligraphy theory of common use,these areas to a certain extent,summarized the understanding of the Song Dynasty poetry calligraphy artist representative perceptual experience and rational,reflecting their poetry book development aesthetics and aesthetic thought.Therefore,this article on Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)category were specially discussed.For each category,from the perspective of diachronic and synchronic intersection,adopting the research method of the combination of history and logic,the combination of macro and micro,first summarizes and basic connotation of development of each category,the development,then focuses on the interpretation of the Song Dynasty representative artists literary theory and calligraphy category point of view,analysis of connotation and aesthetic understanding of these areas,in order to reveal and grasp the common characteristics and laws of literature and calligraphy in Song Dynasty and exchange interaction blending.This study holds that the five categories of Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)respectively reflect the five dimensions of the aesthetic theory and aesthetic thought of the artists of the Song Dynasty.Although the five categories have their connotative characteristics and different aesthetic directions,they are not separate abstract categories,but exist close connections that permeate each other.Between these single core category and by some complex categories such as spirited,spirit,charm and more relevant,meaning the derived category form a similar meaning category group,this group of interrelated categories,as a study to analyze and understand the interpretation of the Song Dynasty literature and calligraphy with potential interaction between network system.Because of the aesthetic category is the Song Dynasty artist is widely used in the main spirit of the works,such as the art of tasting and appreciation activities,so the Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)category of the scope of the constitution of the network system,to a certain extent,can reflect the common characteristics of the Song Dynasty literature and calligraphy aesthetic category and deep cultural blending.Ideological reasons,mainly reflected in the following aspects.1.Spirit of life spillsChinese ancient philosophy thought that all things in the universe were born by gasification.Gas is the origin and body of all things in the universe,and the life of man is also the existence of gasification.The traditional Chinese aesthetics and art are deeply influenced by the philosophy of gasification.It runs through the basic spirit of the philosophy of gasification and forms a special form of Chinese aesthetics and art.The vitality and rhythm contained in poetry and calligraphy are not only the result and expression of the two Qi and Yang of life and Yang in the universe.From the perspective of literary creation,the life of the gas become life-power creation subject,gas filling,and then sent to the"and"overflow for the book".If the breath of life provides impetus to artistic creation,works show the vitality of words,then,Italy,God,rhyme,natural category is from many aspects of creative process,work style,tasting and appreciation,generally reflect the artist social life and art activities in life,the delight of life and aesthetic experience,reflects the richness of aesthetic needs from the subtle spirit of life,the life of the spirit of the wonderful art performance.Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)category all reflect the lively and spilt spirit of life in Chinese art.2.The aesthetic realm of the empty spiritChina painting in the Song Dynasty,more comprehensive and mature,aesthetic orientation from the general works on the external forms and skills,attention,tend to form the intrinsic charm,beyond the artistic expression,from reality to more heavy virtual spirit,advocate free realm of art.This aesthetic orientation has nothing to do with the prosperity and influence of the Zen thought in the Song Dynasty.In general,Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)category embodies and expresses a kind of aesthetic realm of quiet,empty and distant.Chinese art by Lao Zhuang"no"influence Chong thought,aesthetic spirit,and attaches great importance to relations.Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)category in literature and calligraphy are often compared with categories such as speech,image,body,form,form,and labor,forming a unity of opposites between metaphysics and metaphysics.Is a be considerable,the art world and one can only sense the art world,enlightenment.Most of the artists of the Song Dynasty who have an introverted attitude yearn for the unreal artistic realm of the spirit.3.Through the whole dynamic aesthetic feelingChinese ancient literature and art aesthetics is deeply influenced by ancient philosophy,cosmology and life view.It also focuses on visualized,feeling,shaping and evaluating aesthetic objects from the overall and flowing changes.Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)category is not the artist of literary theory and aesthetics of the five independent,local,static single elements,but every category refers to spirit,aesthetic orientation,work style and other aspects of the overall dynamic style,reflects the literary theory and aesthetics of organic the overall aesthetic characteristics and rules of one plane.These categories reflect a kind of holistic,harmonious,flowing and hazy beauty from a certain dimension of works,which has aesthetic characteristics of holistic and dynamic experience.4.Treatment of unified aesthetic methodHuaxia ancestors produced Yin and Yang consciousness in the intuitive experience of natural things such as sun,moon,day and life,and gradually developed into the most common and basic way of thinking in ancient social life.Influenced by the traditional concept of yin and Yang China thought and philosophy,in Chinese aesthetics and literary theory in the process of development,inheritance and derived a large number of relative concepts,such as Yin and Yang,Rigidity and softness,Motion and silence,Morphology and spirit,Do Visivel ao Invisivel,Meaning and image,Elegance and vulgarity,Clear and turbid,Skill and clumsiness,etc.To give these categories in treat each other,mutual body,showing a certain aesthetic purport of both opposite and complementary,and value orientation,and in the state of balance and unity of interaction and release,to achieve overall harmony,harmony,aesthetic ideal,embodies the characteristics of the method of dialectical thinking.The Song Dynasty artist theory in Qi(?),Yi(?),Shen(?),Yun(?)and ZiRan(??)category and related propositions are often applied to a unified method of expression of aesthetic view,such as the words and meaning,form and spirit,and the nature of category for fine interpretation,embodies the dialectical unity of the two yuan to the aesthetic methodology.5.The aesthetic thoughts of the Confucianism and TaoismThe Song Dynasty formed by Confucianism Buddhism and Taoism as the main body,the core of the ideological and cultural pattern."Soothe the mind with Buddhism,Educating people in a philosophical way,Govern the world in the way of Confucianism" ideology and culture has deeply influenced Song Daiwen people's outlook on life,view of art.The artists represented by Su Shi also absorbed the three ideological resources of Confucianism,Taoism and Buddhism,and formed the aesthetic concepts of literature and Buddhism.In the pursuit of the beauty of art,most of them advocate the beauty of neutralization,which embodies the ideal of Confucian values.In nature,the ethereal,hazy beauty pursuit,more embodies the Taoist school,swimming free free spirit and Buddhist detached mind,empty static Miaowu secular realm.