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- 저자 : 馬興祥(Ma Xingxiang) (검색결과 1 건)
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馬興祥(Ma Xingxiang),徐利華(Xu li hua) 동아인문학회 2016 동아인문학 Vol.35 No.-
“Shi” is an important concept aesthetically in China classical art theory. The research of “Shi” has made a great progress sincethe 90’ last century. But there are still several questions need to be explained clearly. Essentially “Shi” is the demonstration of nature and moral life-force, and it’s nature of movement comes from that of “Qi”(氣) and “Yin Yang”(陰陽). The discussions about “Shi” in the esthetic fields began from the recognition and understanding of the natural “Di Shi”(地勢) and “Shui Shi”(水勢), instead of from the political power and influence. “Di Shi” and “Shui Shi” originally have the obvious esthetic characters which got enough focus and correspondingly produced lots of concepts in handwriting, drawing and literature fields. “Shi” is internal but not abstract. It is natural and consistent, which were recognized and explained esthetically by artists who thought “Shi” was the imitating patterns of nature. These artists talked about “Shi” by using lively describing words which shows the “imitating” of nature. “Shi” in art works means a type of life-force and fascination of nature. The representing of “Shi” needs “to Reserve Shi”(蓄勢) by “Using Thought”(用意) and “to Take Shi”(取勢) by “Using Pen”(用筆). “To Reserve Shi” aims at forming a tension-force between the opposite sides while “to Take Shi” forming a joint-force, which is the embodying of Chinese saying of “One Yin One Yang is the Dao”(一陰一陽之謂道). In Chinese classical culture, “Shi” is a spirit of never-dying and never-stopping of nature, as well as a never-changeablepursuit, which makes art works vivid and vigorous and gives them a permanent life. This is the essence of “Shi”, also of Chinese cultures and arts.
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