不了江流, running script and white printing
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Croce has pointed out that beauty originates from "image intuition", but he mistakenly believes that intuition is an indivisible psychological activity, and then believes that art cannot be classified. This obviously goes against objective facts: first of all, the intuition of beauty itself is the aesthetic experience of the senses and the human nervous system. It is a perceptual contrasting feeling, so it is complex and changeable and has no fixed standard. This is why every time we feel the same thing, the beauty and feelings we get are slightly different, not to mention the emotions that inspire joy, anger, sorrow, and joy.
Secondly, the things and works of art in the objective world are infinitely rich and changeable. Whether they are pine eagles, green willows or orioles, or comedy, tragedy, lyricism, and narrative, they do not all have the same existence. The "image intuition" or aesthetic feeling triggered by these rich and varied things and works of art will naturally become richer and more varied. Classification is a cognitive method for people to face the ever-changing world. By classifying similar and close things, we can solve the contradictions and dilemmas between limited thinking ability and infinitely rich facts.
Regardless of whether intuition is divisible or not, even if intuition is not divisible, it does not mean that the result of intuition is indivisible. To put it simply, just like the same carbon atoms , the material sensations they can form are vastly different, ranging from dark coal to transparent diamonds. If there is any inconsistency or contradiction between theoretical cognition and real facts, it must be an error in theory and cognition. This depends on the essence of theory, which is the classification labeling and simulation process of reality.
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Beauty is obviously more than two types, but it does not prevent us from classifying it into two types: rigid and flexible. After all, distinguishing and classifying is a relative comparative cognitive process, which is not an important issue. Even for a strong eagle, there is still a contrast between rigidity and softness between the sharp claws, sharp beak and soft feathers. There is also a difference between rigidity and softness between the brutal vulture and the small sparrowhawk. The little sparrow described by Turgenev also has a powerful and majestic beauty. The source of beauty and the perceptual contrast characteristics of human feeling are unchangeable.
The distinction between rigid and flexible beauty is helpful for the cognitive analysis and learning process of beauty and art. This is the same as our distinction between comedy and tragedy, prose and poetry, rhythmic poetry and ancient style , classical and romantic, etc. This helps to discover the differences, learn the techniques and methods, and coordinate the style of the work, which is as important as a literature index. It becomes the criterion and basis for reference in learning and practice, but it is only the background for reference.
What is most likely to happen, and has been considered unquestionable by most people, is to regard cognitive thinking and text results as facts, and regard legal dogma, which is originally a tool, as a goal and an insurmountable barrier. This misunderstanding has existed since the beginning of speech, and this is how the so-called mantra of speaking and speaking came into being. The artist will remove the auxiliary lines and drafts from the finished work, but it is difficult to forget the dogma of the predecessors in the style.
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Studying the causes of majestic and beautiful beauty separately is just like studying height, size, length, yin and yang separately. The result is naturally that the more we study, the more difficult it becomes to distinguish clearly, and the more we study, the more we fall into confusion. It is originally a perceptual cognition of two contrasts, things that complement each other, and majesty must be a feeling relative to the appreciator himself or other things. No matter whether he is shocked or tall or strong, there must be something that has been ignored. The existence of vs. objects.
Beauty and ugliness have the same relative feeling. Although pheasant cannot compare with the beauty of a peacock, it is much more beautiful than a toad. Trying to give an absolute definition and judgment standard for the perceptual comparisons of beauty and ugliness, strength and softness, length and shortness can only be done by trying to draw water from a bamboo basket. The old, dry and upward tree trunks set off the willow branches that hang downward and dance in the wind. The soft feeling arises spontaneously, but we have ignored the branches of the willow trees.
The so-called "physical sympathy" and "spiritual sympathy" can explain part of the phenomenon, but its essence is still the perception process of contrast and comparison. Art and aesthetics, culture and technology cannot be separated from the cognitive method of comparison and classification. This is the basic tool unit for human beings to understand the world, and it is also the most convenient and effective method. We must make good use of these tools instead of being enslaved and imprisoned by them; we must have the awareness and courage to create new tools and new laws at any time, in order to achieve the consciousness of transcending external objects.
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"Ode to the One Who Shows the Way of Paper Clothes"
Tang Dynasty · Intrinsic Silence
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The nature of awareness is clear and formless, so do not misunderstand knowledge and see and alienate relatives.
Different thoughts will lead to ignorance of the mysterious body, and differences in mind will not be adjacent to the Tao.
The emotions are so profound that they sink into the frontier, and the true nature is lost in many ways.
In this sentence, everyone knows that nothing happened.
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Welcome to follow the public account: Zhongliu Zhiyin
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