The Way Of "Guan" In Ancient Chinese Art Activities

"Guan" plays an important role in traditional Chinese aesthetic activities,which vividly explains the ancient Chinese people’s understanding and yearning for life consciousness.In Western art,"view" is the manifestation of the absolute dominant force of the subject,while in classical Chinese art,"Guan" is not only the aesthetic psychological state of the unity of nature and man,the unity of the object and the integration of the subject and the object,but also an important link and way to show the life charm of artistic works,the revelation of emotional power and the presentation of ideal artistic conception,and has been integrated into the traditional thinking of the Chinese nation.It reflects the cultural spirit of the Chinese nation.After a great deal of creative practice,the ancient Chinese literati constantly summed up and formed their unique views on the "Guan" in aesthetic activities,which endowed the "Guan" with profound theoretical value and broad aesthetic significance,essentially indicating that the Chinese classical art practice is quite different from the west.However,the study of "Guan" in Chinese classical art has been in a state of scattered research for a long time,and is mostly confined to specific theoretical ways,ignoring the correlation between "Guan" and Chinese aesthetic thought.Therefore,based on the creation practice of Chinese classical art and combined with the theory of classical aesthetics,this paper expounds and summarizes the "way of Guan" in Chinese classical art activities from three aspects: the basic connotation and philosophical origin of "Guan",the practice of classical art aesthetic observation and the life realm and aesthetic ideal represented by "Guan".The first chapter,starting from the word source,traces the origin of the word "Guan" and its original meaning through textual exegetical and etymological studies,and then sorts out the meaning evolution of "Guan" through ancient books,and summarizes its extended meaning and evolution range.Secondly,through exploring the ideological origin of "Guan",explore the philosophical connotation of "Guan".Through the study found that:in Confucianism,Taoism and Zen constantly enriched connotation of "Guan" is a key link in the creation and appreciation of ancient art.The theoretical source of "Guan" is Zhouyi,which symbolizes the connection between humanity and the way of heaven.Confucian "Guan" is a simple materialist view.Starting from the sense of "things",it aims to cultivate one’s self,regulate one’s family and govern the country by observing natural phenomena and social life.It compares morality by looking at "things",understands society by "arousing views and group grievances",and attaches importance to the practical value of "Guan".Taoist "outlook" is also different from Confucianism.Lao Zi’s ideas of "eliminating the metaphysical view" and "restoring my view" and Zhuang Zi’s ideas of "sitting in the heart and forgetting" and "taking the Taoist view" expand "outlook" on the psychological level of the subject.The "Guan" of Zen is a kind of "imagination and observation made by the mind".Aesthetic activities have changed from "extreme view" to "immediate view",and become more and more emotional.Under the influence of the ontological concept of "view of space",the observing subject has a personal experience of insight.The second chapter discusses the rich and concrete embodiment of "Guan" in the observation activities of Chinese classical art through the painting art,calligraphy art and garden art of the most ornamental significance.The first section takes painting as the object of investigation,analyzes how "Guan" realizes the perception of universe and time and space in classical Chinese painting from two aspects of theoretical techniques and ways of observation,and summarizes with "Panorama of Rivers and Mountains Across a Thousand Li" as an example.The second section takes calligraphy as the object of investigation,focuses on the structure,lines and techniques of calligraphy,analyzes the spirit,rhyme interest and poetry contained in the "Guan" of calligraphy,and summarizes with Zhang Xu’s "Four Pieces of Ancient Poetry" as an example.The third section takes the garden as the object of investigation,focuses on the observation methods of "static view" and "flow view",analyzes how the classical garden art realizes the creation of beauty from scenery to emotional beauty and then to artistic conception beauty,and summarizes it by taking Suzhou Canglang Pavilion as an example.The third chapter summarizes the sublimation and generalization of "Guan" in Chinese classical art observation activities.The first section discusses that "Guan" is the unique way of existence of our nation by analyzing the relationship between "Guan" and language and the similarities and differences in the understanding of "Guan" in Chinese and Western language views.From the perspective of language symbols,"Guan" reflects the distinct difference between Chinese and Western thinking.For western thinking,human and reality are first determined by language,while the Chinese nation advocates transcending language,thus transcending the restricted world,transcending the current restricted time and space,and achieving the ineffable experience of the realm of life.The second section takes the realm pursuit of "Guan" as the research object.Based on the connection between "Guan" and the three elements of "time","heart" and "life",it clarifies that "the way of Guan" is an important entry point to understand the creation method,expression method and interpretation method of Chinese classical art,and is a distinct embodiment of the creation law and national characteristics of Chinese classical art.It provides inspiration for contemporary artists to explore the law of contemporary art creation.As a way for the Chinese nation to feel itself,life and the universe,the way of "Guan" determines the spiritual realm of "emptiness" of the aesthetic subject,realizes the integration and mutual induction of the subject spirit and all things in nature in the creative activities,and reveals the ancient Chinese people’s concept of free and excellent travel of time and space and their admiration for the artistic conception of "no self".