A Comparative Study Of Zhu Guangqian And Qian Zhongshu’s Thought On The Language Of Art

The language of art,as a unique way for expression,is a special tool for art creators to observe the world and do artistic thinking.In the first half of the 20 th century,the instrumental reason was sweeping China,Zhu Guangqian and Qian Zhongshu captured the essence of language and put forward a refutation of the tool theory.The study of “Zhu Guangqian” and the study of “Qian Zhongshu” has become more and more abundant,though,the research of the thought on language of art of two scholars still needs to go further.In the context of art alienation,the restatement of two scholars’ thoughts on the language of art and doing the comparative study will not only fill the insufficiency,but also help us reposition the language of art and the Art.Focus on “Zhu Guangqian and Qian Zhongshu’s thoughts on the language of art”,the study compares and analyzes the commonness and difference between Zhu Guangqian and Qian Zhongshu’s thoughts on the language of art based on summarizing their core content.Zhu Guangqian’s thought on the language of art embodied in the consistency between thought,emotion,and language,Zhu Guangqian’s “theory of expression”,the necessity for renewal,and the symbolism of the language of art.Qian Zhongshu establishes the dominant position of the language of art in artistic conception,communication,and appreciation by discussing the particularity of the language of art,the double-sided role in artistic expression,and the relation between “Xin”,“Shou”,“Wu”,“Qi”.Emphasizing the integration of form and content of language of art and artistic works,pursuing the effect of“limited words while infinite significance” in the language of art,the thought of language ontology which is different from the language instrumentalism are the common points.Two scholars differ in the relationship between thought and language,Zhu Guangqian breaks the wall between language and thought,and thinks that language is thought.Qian Zhongshu,although he also affirms that words can “represent things” and “capture ideas”,does not break the wall of language and thought,nor does he put forward an opposition to the traditional view of the theory of words and meaning,like “Yi nei Yan wai”.Both of them criticize Croce’s “theory of expression”,but Zhu Guangqian emphasizes Croce’s neglect of the use of language in artistic conception,and thinks that to solve the difficulty in expression needs to solve the vagueness of thought.Qian Zhongshu criticizes Croce’s neglect of the difficulties in expression and thinks that without talent,learning,and craft,artistic creators can not do creative activities with high proficiency.Zhu Guangqian and Qian Zhongshu have criticized Lessing’s theory,Zhu Guangqian believed that Lessing absolutely divided the boundary between poetry and painting.He supports the“inter-communication of poetry and painting”,and inspires various artistic categories to break through the limitation of their language.Qian Zhongshu although,expands the scope of poetry,emphasizes the “heterogeneity of poetry and painting” and the change of original artistic characteristics in the process of transforming.They also differ in paths and methods to establish the status of the language of art ontology.Zhu Guangqian mainly demonstrates the consistency of emotion,thought,and language,while Qian Zhongshu demonstrates the ontological status of artistic language by distinguishing the relationship between words and meaning in philosophy,history,dhyana and art.