Yuan Dynasty Painting: The Double Dialectic of the Literati Spirit.
Under the injection of the literati spirit, the paintings of the Yuan Dynasty showed a brilliant brilliance. However, the revival of the literati spirit also gave birth to two extremes, on the one hand, the thirst for fame, and on the other hand, the ultimate pursuit of free life. In this process, the literati experienced the triumph and frustration of their careers, the tranquility of seclusion and the distractions of the world.
Confucius's ** Zixia once said: "If you are excellent, you will learn, and if you are excellent, you will learn." This sentence became the main way for the scholar class to realize their ideals in life for thousands of years. Tang Dynasty poets such as Yang Jiong and Wang Changling expressed their desire for fame and fame, and regarded meritorious service as the common aspiration of scholars. Even when their careers were not smooth, the literati still did not give up their pursuit of progress, showing their enterprising spirit.
However, the path to entry for the literati of the Yuan Dynasty was unusually narrow. Even in this situation, their desire to enter the imperial court was still strong. Zhao Meng, Wang Meng, Yang Weizhen, Cao Zhibai and other people in the Yuan Dynasty had experience in the office. In their works, although it is common to write that seems to be indifferent, deep down, few people can really forget about official positions and power.
Among them, Wang Meng's experience is even more extreme. When his career was unsatisfactory, he adhered to his beliefs and expressed his loyalty to the Yuan court: "The past is no longer something to say, and I will be loyal to the emperor." Even if the times were bad, he did not abandon the official position in defeat like others, but always had a desire for a career in office.
However, Wang Meng has experienced three times in his life, and his career has been bumpy and difficult. In the face of adversity, he showed his pursuit of a free life, choosing to live in seclusion in the Yellow Crane Mountain, ploughing the fields and painting at ease. With the changes of the times, he entered the government three times, but in the end he died in prison, and his life poetry was almost extinct.
This pursuit of fame and free life was not unique among the painters of the Yuan Dynasty. Some painters, such as Wu Zhen, chose to live in seclusion and maintain an independent and incorruptible atmosphere. However, Wang Meng's example shows that there is a complex entanglement and choice between the career of the literati and the seclusion.
The other extreme of the literati spirit: the ultimate pursuit of free life.
In the paintings of the literati of the Yuan Dynasty, in addition to the pursuit of fame, they also show the ultimate pursuit of free life. In this pursuit, the literati took on the posture of "talking about their hearts and minds", placing the existence and continuation of their personal lives above the changes of the world, and indifferent to the future of the country and the suffering of the people.
This attitude was not uncommon among literati, especially among some landscape painters. The literati of the Yuan Dynasty indulged in the landscape, felt the changes of the four seasons, and expressed their love for nature with the theme of landscape. However, this addiction to nature also makes them gradually withdraw from real life and adopt a kind of evasive observation of the world.
In the last years of the Yuan Dynasty, the literati collection gradually flourished, such as Gu Ying's Yushan Yaji, which was large-scale, attracting many like-minded literati. In these elegant collections, the literati seem to be in the peach blossom paradise of "not knowing whether there is a Han dynasty, regardless of the Wei and Jin dynasties", away from the hustle and bustle, and living a chic and comfortable life. Yacheng is the manifestation path for literati to pursue self-worth, and it is also their spiritual habitat when their career is bumpy.
This pursuit of a free life is reflected in the paintings, where the painters use landscape as a medium to express their yearning for a free and leisurely life. Yushan Thatched Cottage and other literati gatherings have become places for painters to gather and communicate and talk about literature and art.
The Double Dialectic of Literati Painting: The Interweaving of Fame and Concealment.
The literati paintings of the Yuan Dynasty not only showed the thirst for fame, but also expressed the ultimate pursuit of a free life. These two spirits were intertwined throughout the literati's life, forming a rich and colorful picture.
The revival of the literati spirit led to the peak of literati painting in the Yuan Dynasty. The pursuit of fame stimulated the enterprising fighting spirit of the literati, which made them express their concern and thinking about society in their paintings. At the same time, the pursuit of free life has made the literati elegant integration an important platform for the exchange of literature and art, and promoted the innovation and development of painting.
However, the dual dialectic of the literati spirit also brings some contradictions and choices. Some literati are torn between fame and free life, and it is difficult for them to break free from the shackles of fame in their lives. Others, on the other hand, chose seclusion, indulging in a life of freedom, away from the distractions of the world.
This dual dialectic in the literati paintings of the Yuan Dynasty is not only a reflection on social reality, but also a pursuit of self-realm. It allows people to see the contradictions and entanglements of literati in their different choices, and also allows people to understand more deeply their unique views on art, freedom, and life.
Epilogue. The fame and seclusion in the literati paintings of the Yuan Dynasty constitute a rich and colorful picture. In the process of pursuing fame, the literati expressed their concern and thoughts about society, and the pursuit of a free life enabled them to find a spiritual habitat in Yazhong. This dual dialectical literati spirit injected a unique charm into the paintings of the Yuan Dynasty and left a strong mark on the history of Chinese art.
The dual dialectical spirit of fame and seclusion displayed in the literati paintings of the Yuan Dynasty has added a profound stroke to the history of art. The choice between career and free life of the literati during this period not only expressed their thinking about social reality, but also reflected the individual's spiritual struggle in the face of the changes of the current situation.
First of all, when discussing the pursuit of fame, the article shows the determination of literati to pursue their own values in society by depicting their desire for official careers. This desire is not only the pursuit of individual achievement, but also the expression of social responsibility and lofty ideals. The works of Tang Dynasty poets such as Yang Jiong and Wang Changling are taken as examples, vividly showing the lofty ambition of literati in the process of pursuing fame, and presenting readers with the image of a literati who is determined to make meritorious contributions.
However, the article does not ignore the dilemma of the pursuit of fame. Through Wang Meng's example, it vividly depicts the reality of ups and downs in the career and the impermanence of gains and losses, so that readers can empathize with the struggle of literati on the road to fame. This realistic depiction not only adds to the emotional depth of the text, but also allows the reader to better understand the inner turmoil of the literati.
Corresponding to the pursuit of fame is the ultimate pursuit of a free life. The literati expressed their love for nature through landscape paintings, and integrated a free and leisurely life into their artistic creations. This pursuit not only found an outlet for aesthetics, but also formed a collective escape against social disturbances in the literati and elegant concentrations.
Gu Ying's Yushan Yaji has become the spiritual home of literati in their pursuit of freedom. The article takes Gu Ying's Yushan Yaji as an example to vividly depict the scene of the literati Yaji talking about literature and art, singing and repaying the reward. Such gatherings not only provided a platform for literati to gather and talk, but also became a paradise for them to escape from the distractions of fame and fame.
The most brilliant thing about the article is the dialectical reflection on these two spirits. The double dialectic in literati painting makes the work of art more profound. This dialectical nature is not only a profound reflection on the situation of the times, but also the pursuit of self-realm. The literati hovered between fame and seclusion, expressing not only their thoughts on social responsibility, but also their yearning for a free life.
On the whole, the dual dialectical spirit of fame and concealment in the literati paintings of the Yuan Dynasty has brought unique historical value to art history. Through the profound analysis of the individual's heart, the literati paintings of this period presented a rich and connotative artistic style. This double dialectic not only gave more meaning to the artwork, but also provided rich ideological food for later literati.
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