The reasons for the formation of China's landscape culture and its influence on tourism

The reasons for the formation of China's landscape culture and its influence on tourism

It is precisely under the influence of China's "view of nature" and the understanding of the relationship between natural beauty and artistic beauty that China's ancient natural landscape aesthetic theory has the following noteworthy views:

First, it puts forward the following ideas: "taking heaven and earth as teachers", "taking nature as teachers" and "taking mountains and rivers as teachers". As early as in the Liu and Song Dynasties, Liu Xie put forward that "if the mountains and forests are high and fertile, it is an Austrian house of practical writing and thinking" ("Wen Xin Diao Long Looking for"), which emphasized the important significance of natural landscapes to trigger people's interest in artistic creation. After the Tang and Song Dynasties, with the prosperity of landscape poetry and landscape painting, this theoretical theory of landscape beauty based on heaven and earth and mountains and rivers has been widely sung: in the Tang Dynasty, Zhang Xuan put forward that "nature is made by foreign teachers, and the heart comes from China"; in the Song Dynasty, Guo Xi put forward that "the body is the mountains and rivers"; in the Ming Dynasty, Wang Lv put forward that "my heart is a teacher, my heart is a teacher, and my eyes are a teacher of Huashan" A common idea of these statements is to oppose the imitation of the ancients in artistic creation, which is bound by the law of rope and ink, but to emphasize the vivid, concrete and true natural world of mountains and rivers from the aesthetic feeling of the natural scene in front of you. A passage by Bao Hui, a Song Dynasty poet, on the "truthfulness" of landscape profoundly revealed this idea:

The terrace of Chicheng in Yongjia, the wild geese, the ravines of ancient times, the lakes and mountains of Qiantang Wulin, are also the best places in the world. Can you know the truth without seeing it personally and seeing it personally? If you sit and think straight and lie down and swim, you are still looking at drawing on paper. But who is really easy to know? If you want to know benevolence and wisdom, you should be integrated with the inside and outside, but you should not only get the rough shape, but also get it with the spirit. When the situation touches its eyes, the emotion moves in the middle, or sighs or sings, or promotes or entrusts, and once it is taken and embodied in poetry, the poem is also like it, which is true. (After Wu Bocheng's Poems on Mountain Tour)

In China's aesthetics, "truth" is connected with nature. Bao Hui's emphasis on "seeing with one's own eyes and shoes" here requires artists to start from living natural phenomena, not from abstract concepts, traditional dogmas and rules in books. Initiating and expanding this aesthetic view of landscape requires writers to describe the real world of nature, society and life from their own life feelings. Lu You, a poet, wrote in "After the Poems of Xiao Yanyu, a Scholar in Luling": "Fa is not alone since ancient times, but an idiot wants to carve the void. I can know the beauty of your poem, and it is in the mountains and rivers. " Yuan Haowen, a poetic theorist in the Jin Dynasty, also said in Thirty Poems: "It's always untrue to feel something in your heart.". In the past, we only summarized these viewpoints as "materialistic viewpoints", but actually failed to grasp the cultural characteristics of China's ancient aesthetics. China's ancient views on landscape aesthetics not only have the significance of origin theory, but also reveal the psychological mechanism of aesthetic feeling in the process of artistic creation, and emphasize the importance of natural and real artistic world. It is an important aspect of our nation's aesthetic interest in advocating nature.

Second, in the artistic beauty of natural landscapes, it is emphasized to be like a spirit. Artists' teaching of mountains and rivers, nature and nature is not a mechanical, rigid and lifeless description of natural mountains and rivers, but a manifestation of their natural vitality and spiritual interest. In the Jin and Song Dynasties, the landscape literature, Mo Shan Fan Shui, was "eloquent, like printed mud" and "lyrical" ("Wen Xin Diao Long Looking for"), although it took the natural landscape as the object of expression, it did not fit in with the natural beauty advocated by China in ancient times. While emphasizing "seeing with one's own eyes and shoes", Bao Hui also demanded that "it is not only the rough traces but also the spiritual interests". The "spiritual interest" of this landscape is what Si Kongtu said. Si Kongtu shows us very vividly: "If you are looking for Shui Ying, you are writing about Yangchun. Abnormal situation, flower spirit. The waves of the sea are rugged. " ("Twenty-four Poems Description") It can be seen that the spirit is similar to the shape, but it is higher than the shape.