Aesthetics of Su Tung-po''''s and its modernity

• Main Authors: Chueh-Ling Lin, 林鈺鈴
• Other Authors: Kuang-Nan Huang
• Format: Others
• Language: zh-TW
• Published: 1995
• Online Access: http://ndltd.ncl.edu.tw/handle/19849142278004036093

碩士 === 國立師範大學 === 美術學系 === 83 === This Study consists of seven chapters in which are divided into twenty parts altogether, amount to approximately 100,000 words or so. The first chapter is a brief explanation: Su Shi, who has the greatest artistic temperament in Chinese Art history, wiht an introduction and a description of his aesthetics and metap- hysics. Chapter Two gives a general overview of culture and envir- onment during the Northern Song in which Su Shi lived. With an age for a background, Su Tungpo made himself intellectual and artistic. Chapter Three traces the philosophical evolution of Orie- ntal ideas of Confucianism, Buddhism, Daoism and Neo-Confuci- anism. Su Shi, being based on these philosophical thoughts, cultivated himself as an aesthete. Chapter Four explores the style of Tung-po''''s art works(p- oetry, compositions, calligraphy and paintings) in detail. From Tung Po''''s art works we can trace some of the aesthetic and met- aphysical links between the style, ideas and imagery. His family influences, Buddhist and Taoist friends and teachers all served as inspiration and confirmation for his creation. Chaper five presents Tung Po''''s Aesthetic themes (nature, soul and essential harmony "[shen]神and [yun]韻", aesthetic t- aste and image "[ching chieh]境界and [yihsiang]意象", refresh- ing style and plainess and so on), which are his aesthetic cor- es, and will be elucidated as complete as possible, and they constitue the very significance of his Aesthetics. Chapter Six is a discussion about the revelation of Tung Po''''s Aesthetic thoughts toward modern life. That is: the embo- diment of Tung Po''''s Aesthetic into actions (art instruction, art criticism and art creation and so on), only this revelation is well understood and applied, could we catch the modernity of Tung Po''''s Aesthetics. The conclusion integrates all dimensions of the influence of Su Tung-po''''s Aesthetics and its modernity. This study, based on above analysis, focuses on three vi- ewpoints which vary to my predecessors and are original. These different aspects are as following: This study attempts to elucidate the context with diagrams-- namely, each diagram as a scheme affords a distinct outlook on the dissertation. This study has suggestedd three levels of meaning: The ontological or existential meaning: To see " the world in a grain of sand ". The creative meaning: To see " a heaven in a wild flower " and to " hold infinity in the palm of your hand ". The phenomenological or consummate meaning: The " eternity in an hour ". From ancient to modern time, the outstanding Tung Po not only sets a good example for us but also inspires us to have qualit- ative thinking, aesthetic problem solving the mode of qualitat- ive intelligence and so on. Hence, Tung Po has created a unique style that belongs not only to the ancient or modern time ,to the East or the West, but also to the whole world. Tung Po has created an instance of immanent beauty.