Ask for the original text of "Why do you feel happy" and "Illustrated with pictures" in senior three Chinese!

-talking about beauty and aesthetic feeling from a physiological point of view

Zhu Guangqian

What is beauty? What is aesthetic feeling? What is the relationship between beauty and aesthetic feeling? To answer these questions, we must proceed from the specific situation, and the specific situation of aesthetic activities is extremely complicated. Here, I want to talk about rhythm, empathy and internal imitation in aesthetic activities from a physiological point of view. (1) sense of rhythm. Rhythm is a common element of the most primitive and common trinity art, such as music, dance and singing. Rhythm exists not only in works of art, but also in human physiological activities. The natural and regular ups and downs of organs such as breathing, circulation and movement in the human body are rhythms. When people use their sensory organs and motor organs to deal with aesthetic objects, if the rhythm of the objects conforms to the natural rhythm of physiology, people will feel harmonious and happy, otherwise they will feel "awkward" or "unbalanced" and unhappy. For example, when we listen to Peking Opera or Drum Book and play it wonderfully, like Yang Xiaolou and Liu Baoquan in the past, we will feel that the length and speed of each syllable and beat are just right, and it is wonderful to "flow like a projectile". If a word is dropped, or a board is high or low, our whole body muscles seem to be suddenly shocked by an unpleasant electric shock. This is called rhythm. In order to keep up with the rhythm, we often hit the board with our hands and feet. In fact, all our muscles are "beating the board" and there is also an "expectation" effect psychologically. There is always a habitual rhythm pattern. When we hear the last board, we "expect" the length and speed of the next board. If the next board really meets expectations, the aesthetic feeling will be strengthened, otherwise the aesthetic feeling will be destroyed. Rhythm is the unity of subjectivity and objectivity, and also the unity of psychology and physiology. It is the medium of inner life (thoughts and interests). Artists use tones and rhythms to express their thoughts and interests, and the audience experiences or infects that kind of thoughts and interests from this tone and rhythm, thus causing resonance or * * *. For example, the following two poems: Alas, the danger is high! It's hard to get through the Shu Road, and it's hard to get to the sky. ..... If the risk is the same, well, people far away will be stupid! (Li Bai's "Difficult Road to Shu") What about children's words, complaining about others. Like the wind, who is singing the flag? A soldier likes to fight the king with his sword. Eee logo turned into a floating cloud, you don't have to wander around the endless road. ..... I can't climb on the scale, and I have fallen into a trough! (Han Yu's Listening to the Skillful Teacher Playing the Piano) Li's poems are abrupt and heavy, with lofty style, giving people a sense of fear, slow rhythm and ups and downs. There are many changes in Korean poetry. Miao's voice suddenly changed from touching and delicate to loud and open, rippling repeatedly. At the end of the two sentences, there is a strong contrast between the danger of rising and the sudden decline. Tone rhythm is only the change of the sound itself. Rhythm mainly exists in sound, but it is not limited to sound. Regularity and rhythm can also be seen from the complexity of body length, size and thickness, the depth of color and the complexity of different conditioning stages. Architecture also has its own unique rhythm, so aestheticians compared architecture to "solidified or solidified music" in the past. A literary and artistic work should have the rhythm of "inheriting and combining" in layout. I have read Comrade Yao's Li Baicheng, and I especially appreciate that he used the tension of a military horse to intersperse some comfortable and leisurely games such as court life in the late Ming Dynasty. Some of our music and literary works are often too high-profile and tense, lacking a sense of rhythm. "Zhang doesn't relax, I won't do it!" (2) Empathy: conceptual association. /kloc-since the 20th century, the biggest school of western aesthetics is the neo-Hegelian school headed by Fischer and his son, and their greatest achievement lies in the research and discussion of empathy. The so-called "empathy" means that when people concentrate on an object (natural or artistic works), they forget things and achieve the identity of things and themselves, and "pat" or transfer people's lives and interests to the object, so that inanimate and interesting things look like human life activities, and only physical things have human feelings. The most obvious example is the observation of natural scenery and the resulting literary works. Most of the epigrams chanting things in China's poems show empathy. For example, the following famous sentence: meet each other late, only Jingting Mountain. (Li Bai) Petals fall like tears, and lonely birds sing their sorrows. (Du Fu) Crazy catkins dance with the wind, and fine peach blossoms chase the water. (Du Fu) The number of peaks is bitter, and the rain is short in Wechat business. (Jiang Kui) It can be seen that the solitary pavilion is closed in the cold spring and the cuckoo is singing in the sunset; (Qin Guan) Everything is written as an adult, static is moving, and heartless is sentient, so mountains never tire of looking at people, catkins can be crazy, peach blossoms can be frivolous, mountains are sad, and yellow rain can be enjoyed. It can be seen that most of the "comparison" and "xing" in poetry come from empathy. Lipps, an important representative of the theory of empathy, opposed the explanation of empathy from the physiological point of view, and advocated using the "conceptual association" of British empiricism (especially "similar association") to explain it. He took the Doric stone pillar in Greek architecture as an example. This kind of stone pillar supports the heavy flat roof above, which should make people feel that it is drooping under heavy pressure, but what we actually see is that it seems to be rising and resisting. Lipps called this impression "spatial image" and thought it originated from similar associations. The posture of the stone pillars caused people to stand up and get up under similar circumstances, and the concept or image of resistance was moved to the concentrated stone pillars, so the stone pillars seemed to stand up, get up and struggle to resist. On the one hand, Lipps's view focuses on the empathetic self and things, which is more idealistic. (3) Empathy: internal imitation. Gulus belongs to the empathetic group and opposes Lipps. On the one hand, he focused on the object of empathy and me, using the physiological point of view. He believes that aesthetic activities should only have internal imitation, and there should be no real imitation. If the impulse to exercise is too strong, for example, many teenagers in western Europe have tried to imitate Werther's suicide by reading Goethe's Young Werther, which will destroy the aesthetic feeling. Just as China said in the past, some people were outraged when they saw Cao Cao's cunning play, and it was not aesthetic to take a knife to stage and kill the role of Cao Cao. Guru also thinks that internal imitation has the nature of game. This is influenced by Schiller and Spencer's "game theory", which regards game as the origin of art. From the perspective of literary creation and appreciation, there are indeed many examples of internal imitation. The "imposing manner" and "verve" in China's literary theory and the "vivid verve" in Chinese painting theory are all realized through internal imitation. China's calligraphy has always been a self-contained art. Kang Youwei said that there are ten beauties in his "A Boat in Guang Shu", among which "boldness", "muddy weather", "whimsy" and "flying spirit" obviously show the inner imitation of empathy. Calligraphy often shows individuality, and Yan Zhenqing's calligraphy is as upright as his. Zhao Mengfu's calligraphy is as delicate and charming as his personality. We appreciate Yan's strength, so we can't help but sit still and imitate his dignity and strength; We appreciate Zhao's charm, so we can't help relaxing our muscles and imitating his graceful posture. Western writers describe more cases of internal imitation in Empathy. George sand, a female writer, said in Impression and Memory: I feel like a grass, a flying horse, a tree top, a cloud, a flowing water, a horizon connecting heaven and earth ... Flaubert, a master realist, also described his masterpiece Madame Bovary in his correspondence, and said: Today I am a husband and wife, as well as a lover and lover. This shows that the author's body and things are insignificant in his creation. When he reaches the realm of the unity of things and me, he will produce internal imitation in empathy. However, all imitations involve muscle activity to some extent, and this kind of muscle activity will certainly leave an impression on the brain and become an important factor in aesthetic activities. (4) There are two types of aesthetes and aesthetic objects. There are two different types of aesthetic subject (human) and aesthetic object (nature and literary works), and these two types have certain differences and intersections, which leads to the complexity of beauty and aesthetic feeling. As far as people are concerned, psychology has long divided people into "emotional type" and "sports type". For example, if you look at a circle, emotional people will directly realize that it is round as soon as they see it, while athletic people will make circular movements along the circumferential line with their eyes, and only from this eye muscle movement can they realize that it is round. Recently, aestheticians have divided people into "spectator type" and "sharing type", which are roughly equivalent to emotional type and athletic type. It is not easy for people who are purely onlookers to empathize, let alone imitate themselves. They clearly realize that I am me and things are things, but they can still appreciate the image beauty of things. People who are purely sharing will forget things and be the same as things in concentration, which will inevitably lead to empathy and internal imitation. This difference is the difference between the spirit of Apollo (watching) and the spirit of Dionysus (sharing) pointed out by Nietzsche in The Birth of Tragedy. Diderot also emphasized this difference in his masterpiece On Actors. He thinks there are two types of actors. One is that whatever role an actor plays, he becomes that role, forgets himself completely, and lets the thoughts and emotions of that role dominate his posture and tone. Another actor, although he plays the role vividly, always calmly looks at whether his performance conforms to the "ideal mode" he has already thought about. There are also static and dynamic aesthetic objects. It was Lessing, the leader of the German Enlightenment, who first pointed out this difference. He pointed out the difference between poetry and painting in laocoon. Painting is the art of describing forms and using lines and colors. The lines and colors are distributed and tiled in space, that is, static. Poetry is the art of using language, and it describes the action plot. Every part of the plot is continuous in time, that is, in a dynamic state. As far as the senses involved are concerned, painting should be accepted through the eyes and poetry through the ears. However, Lessing does not rule out that painting can also turn static into dynamic, and poetry can also turn beauty into rhyme. Beauty is a dynamic beauty. Take China's poems and paintings as an example. Generally, paintings are static. Chinese painters, on the other hand, take "vivid charm", "seeking common ground in spirit" and "painting with poetry" as the first principles, and all require painting to be static and dynamic. Poetic beauty is charming, that is, beautifying the static body into the beauty of flowing action. One of the best examples is a poem describing beauty in the Book of Songs Feng Wei: ... hands are like catkins (tender grass), skin is like coagulated fat (coagulated fat), collar is like salamander (collar is like silkworm chrysalis), teeth are like rhinoceros (melon seeds); The eyebrows of moths are a kind of insects, smiling and expecting! The first five sentences list all the parts of the head, and use many nondescript metaphors, which do not set off a kind of beauty. The last two sentences suddenly turn from static to static. Although there is not much ink, they completely describe the posture and expression of a beautiful woman. After reading the first five sentences, there is no empathy, no internal imitation, no aesthetic feeling; After reading the last two sentences, I feel active empathy, internal imitation and vivid beauty. This shows that the nature of objective objects really plays an important role in aesthetic feeling. I nagged for a long time to answer the question asked at the beginning. First of all, beauty must have an objective object, and there must be an objective existence of such a beautiful woman as "Qiao Xiao Qian Xi". However, this gesture can be expressed by countless different beauties, which complicates the essence of beauty. Secondly, aesthetics must have a subject, and beauty is a kind of value, which cannot be separated from evaluators and appreciators. If this beauty is in an empty desert, or in the dark night, what aesthetic feeling can her "smart smile and beautiful eyes look forward to" produce? Why can you say she is beautiful? Even in the downtown area in broad daylight, thousands of people in Qian Qian will see her, and they will not all think she is equally beautiful. Isn't the old saying that "beauty is in the eye of the beholder"? Different people will see different beauty and have different aesthetic feelings.

Graphic theory

Some people think painting is difficult. They say they should be born with a talent for painting. I don't think so. I think as long as I am interested, find the right way and work hard, I will naturally succeed. People used to say, "three people make seven days", but I absolutely object to this sentence. I thought we should say "seven minutes and three days" in reverse; In other words, no matter how talented you are, you cannot work hard.

The so-called prodigy in the world will probably be unknown when he reaches adulthood. What is the reason? Just because everyone holds it and parents spoil it, they get carried away, feel great, and don't study hard anymore. If you don't advance, you will retreat. This is a natural trend. How can you tell him success? My personal opinion is that if you want to draw, you should imitate the names of the ancients, practice the lines (the same is true for writing, learn to sketch first), and then learn to sketch.

Sketch must first understand physics, observe the state of things and understand the situation of things, and must be written once until there are no mistakes. In my imagination, there is no difference between Chinese painting and western painting, which is the case when I first learn and when I finally reach the highest level. Although there may be some differences, it is the differences in regional customs and tools that cause the differences in the pictures.

Also, from the perspective of color, western painting is inseparable from color and light. Color sets off light, and light shows color. In order to express the depth and three-dimensional sense of an object, shadows are used as a foil. Chinese painting uses light and color respectively. It's used up when it's needed, and left out when it's not used. As for Yin and Yang, it depends on the ups and downs of lines, while ink painting and freehand brushwork are unique painting methods in China, without drawing shadows.

Artists in ancient China thought that shadows were harmful to the aesthetic feeling of the picture, so Chinese painting was divided into lines to show the back of Yin and Yang, and colors to set off the light. This is also like the high and white tone in modern portrait art photography. There is no shadow, but it naturally has a three-dimensional sense and aesthetic feeling, and the theory is the same. Western modern painting tends to be abstract, and Matisse Picasso said it was influenced by Chinese painting. I personally saw Bi's five volumes of "Practice Chinese Painting with Pen and Ink", each volume is about thirty or forty pages. He gave me a new painting of the Spanish shepherd boy god.

So I said that Chinese painting and western painting should not be too far apart. One can integrate the advantages of western painting into Chinese painting, which looks exactly like the charm of Chinese painting, without the appearance of western painting. This requires extremely talented people and very hard work to achieve this achievement. If you are not careful, you will be possessed by evil.

Chinese painting is often criticized by people who don't understand painting, saying that there is no perspective. In fact, is there no perspective in Chinese painting? Its perspective was taken from all directions, and now abstract painting is just so-so. As the ancients said, the following sentences are full of abstract perspective principles. He said, "There are no mountains in the distance." Why are there no disasters in the distant mountains? Because people's eyesight can't reach, it means that photography is too far away. There is a layer of fog in the air, so naturally you can't see the veins on the mountain. Of course, it is not necessary.

"Far water without waves" The river looks far away, where can you see ripples? The same is true of "people far away have no eyes"; The distance is far away, and the five senses are of course unclear. This is a natural truth. The so-called perspective is natural and rigid. Photography was not invented before, and Chinese painting has long invented these principles of extreme photography. How can you see it? For example, painting distant scenery must be light in color, but it should also be light and fuzzy, that is, painting is used to express distance; If you draw a close-up tower and a pavilion, you must draw it clearly and in a dark color, as if it were in front of your eyes.

Shi Tao has another unique skill. Sometimes, he, in turn, blurs the close-range and paints the distant view clearly and realistically. This is equal to the focal length of the camera. For distance, it's more like our eyes staring at the distance ahead, and we can't see the distance near. This is the "highest" perspective of modern scientific physics. It's really amazing that it can be used in painting and expressed. Therefore, the abstraction of Chinese painting is not only physical, but also contains aesthetic factors.