Su Da Yizheng and Biography of Jiao Hua

For Japanese artists, the word "Jiao Hua" is almost equivalent to our "Wen Xin Diao Long". The latter symbolizes the control of poetic aesthetics over China's classical aesthetics and outlook on life, while the former symbolizes the control-even reconstruction-of habitable aesthetics over the whole Japanese classical aesthetics and outlook on life. The difference is that China's aesthetics has long been abruptly broken, while Japanese aesthetics is constantly changing and regenerating. In addition to the realistic factors, there are also its own factors: the world symbolized by Wen Xin Diao Long is too perfect and exquisite, and it has lost its ability to be euphemistic and overflowing. The world of charm and flowers is illusory and fragile, but new buds sprout everywhere.

Simi, a young ghost hag, was a Japanese ape music master in Muromachi era. He was exiled to Sadoshima by Ashikaga at the age of 72, and became a master of energy after his release at the age of 79. The sea is inseparable from him. His theoretical book "Biography of Flowers" written before his exile foresaw this wave. The core aesthetics of The Tale of Flowers is the simplicity of flowers and their blooming in this simplicity-a good performer is a flower that blooms on the stage and conveys the truth of the universe and the information about change to the audience.

Suda Masayoshi's masterpiece "Biography of Spells and Flowers" is the bud of Simi and an excellent example of Japanese art's cross-border inheritance. Suda Masayoshi is a new discovery of China photographers in recent two years, although he is already a very old photographer. The biggest difference between him and the famous Nobuyoshi Araki and Daido Moriyama is that he is still and motionless, and the details in the box tremble slightly, just like the form of these four words: wind, posture and harmony.

The similarity between Su Da's Biography of Charm and Flowers and Simi's Nengju is that Jing Ji has a gibberish that awakens a "dream energy" of repentance. Simi's "Biography of Charm and Flowers" emphasizes that you should not forget your soft heart when performing tough, and you should not forget your strength when performing beautiful style. Just like Suda Yizheng, those lights that suddenly spread out in front of a dark background are the most mysterious expressions on your face. Flowers should be kept secret and kept fresh, but the wind doesn't want to This is also the mystery of the Japanese scenery photographed by Suda. Flowers are flowers in cherry blossoms, and the posture is the posture of a wild monk's hat. The angry waves stand in the wind, and the bodhisattva hangs her eyebrows to convey the message of these flowers.

Since it is the beauty of life and change, Suda has also given this charm more meaning. On the one hand, it is an extreme formalism that is stronger than tradition. The people in the photos are just like those objects and symbols in roland barthes's "Symbolic Empire", such as a piece of paper and a piece of paper uncovered thinly. On the one hand, it is an extremely ambiguous internal metaphor, such as Kenji Miyazawa's Spring and Shura. These people and things stay at the moment when they don't know good and evil. This boundary is not as clear as it looks, from which we can see that the Japanese national character has changed for thousands of years, only more complicated.

Complexity is complicated, and flowers are always beautiful. For example, Xie Mi once discussed the beauty of "Yu Yan's sadness" in Flowers. He said that "Yu Yan's sadness" is higher than "flowers", but if "flowers" don't exist, "Yu Yan's sadness" is meaningless. This sadness can also be seen in the sharp and decisive shadow that hangs over Suda's eyes everywhere. Without Su Yan, the shadow is meaningless, which is just one of the mysteries of flowers. Suda used this mystery to hold us all at once, although his surface was so simple and clear, "If I make it clear, you should taste it slowly in the dark"-whose poem is this?