But in the form of freehand brushwork, there are six ways to use the intensity of ink, and it's not really up to you to decide. Of course, the difference between a genius and a painter lies in their ability to paint. As a master painter, I imitate them in the same way. However, if you lose your soul, others will be different. I strive for a higher position, but he takes a long time to excel.
Chinese art has great characteristics, but it is definitely not something that people who cannot understand are talking nonsense about. The purposefulness of art, as Kant said, seems to be independent of any rules and is like a natural product. However, in reality, art has rules. Where do rules come from?
Kant's meaning is that when I say it seems to be free from rules, it means that art should not show any traces when following rules. It is not like you can see that there must be a combination of colors and proportions here. It is not that you cannot see traces. Why? Because rules are innate and given to him by nature itself through genius, there are rules, but rules are given to him by nature through genius. An important subject in Kantian aesthetics is the "genius theory".
The famous passage in the Third Critique is, 'Nature enacts rules for art through genius.'.
Genius is not him, unlike Wu Guanzhong who talked nonsense there. His later theoretical works are Cartesian. To have subjectivity, one sentence is one subject, one sentence is one me. As for the real Chinese, I think they have a good grasp of art, because there is a saying in the quotation of Huang Binhong's paintings.
He said that meaning is the expression of the Tao, a true masterpiece, he must be speaking in a natural way. In the end, what you express is the spirit of the universe itself, not your own personality as a painter. This is completely different, and it is in line with the spirit of Chinese philosophy.
And Kant clearly found that there was none here, he hooked off the subject and naturally promulgated it through genius. The reason is close to Hegel's, the individual is a tool of the world spirit, becoming a tool of world history. At least in this sentence, it seems that he has integrated people into nature.
Therefore, the rules represented by art are not subjective rules, but natural rules. If Wang Binhong could read the third critique and say, "This is what I said. There are ways and rules, and the rules are expressed through the impossible method." He would say that Kant here is the same as our Chinese people about the integration of Tao and technology. There is a combination of Tao and technology in the Book of Changes. The word comes from the Book of Changes, not from Wang Binhong's own ingenuity, but from the broad and profound culture of our country. It is really not common to underestimate.
Being able to enter his hall of fame from a lifetime experience is already a remarkable achievement, because if you think about it, he is an accumulation of thousands of years of civilization. Being able to enter his hall of fame is truly a remarkable achievement.
Let's continue, so in a sense, appreciation and judgment depend on the super sensory and uncertain phenomena, and the form of art itself is super sensory. But he is uncertain, and here you absolutely cannot say it. 'Beauty' cannot be said, beauty cannot be defined, and in the same place, the form of art is also undefined and cannot be said at all. He is uncertain.
This uncertainty also indicates that Kant actually wanted to link beauty and goodness together. We appreciate and judge, in a sense, the uncertainty of the super sensory foundation of the dependent phenomenon. The fact shows that there is a certain connection between aesthetics and morality. Why?
Aesthetic judgment indirectly predicts uncertain concepts, reflects on morality, and gives certain content to things that are beyond sensory perception. Beautiful things can shock and move us in this way, and this is what uncertainty is.
Kant said that the fact that Mount Taishan moved us not to be Mount Taishan, more than 4000 meters high, was not how big he was, or his "Yin and Yang cut the twilight", the sensory image he presented, because according to Kant, he generated pleasure in our hearts, so beauty is a super perceptual thing, and the form of beauty, in Kant's view, also has such an uncertainty of a super perceptual form, what is that?
Why do we see such inferior so-called artworks, let's call them inferior products? We not only feel uncomfortable, but also feel nauseous when it comes to vomiting. The 1980s was a time when our generation grew up, and they were all westernized. The entire old, middle-aged, and young generations, except for the older ones, were slightly better. Young and middle-aged people under the age of 50 were all westernized, and of course, painters were even more so.
At the time of the Academy of Fine Arts, there was a student in our generation who, like the graduate students of Zhongzhe in the 1980s, was looked down upon and considered the most useless group of people. They only got into Zhongzhe after failing to pass anywhere.
Later, he went to the United States very early and stayed there for decades. There were many Chinese paintings in the Metropolitan Museum of Art, but he didn't look at them. After returning to China in the late 1990s to see Chinese art again, he was immediately shocked. Then, he said that he had a good friend from back then, both of whom were women and artists. Now that he sees many popular things, he really feels nauseous.
He just feels like something uncertain that moves us.
So, Kant has a classic saying in the Third Critique that beauty is virtue, a symbol of goodness. We were moved by him because in this, we saw the ultimate goodness, and what we gained was something super emotional. But in such a great work of art, what we see is like this. Kant's words are well spoken, and it can be seen from this sentence that for his elders, asking about goodness and beauty is undoubtedly the same thing.
Appreciation is fundamentally a sensory interpretation of moral concepts, utilizing the ability to judge through a certain analogy of reflection on both. Aesthetic experience connects the sensory world represented by scientific knowledge with the hyper sensory world grasped in moral experience. Because there are various similarities between beauty and kindness, although they also have differences.
Let me explain first, the connection between the sensory world of scientific knowledge and the moral world does not require explanation. His artistic works, whether depicting a mountain or a person, animals or still life, materials and fruits, are of course all things from the natural world.
However, here, he demonstrates through his unique form that there is morality behind him. And for Kant, of course, if you call someone without aesthetic ability and experience, they won't be able to see it. They will say that this is just a rabbit, this is just a stone, nothing. But for ordinary people, when we look at Shi Tao, sometimes some very sensitive people may see tears streaming down their faces. Why is it that he is covered in tears?
Without a doubt, he was moved by the virtue and kindness conveyed in this sentence. There is someone who you don't know much about bowstring now. The Ming Dynasty has fallen, and they are dissatisfied but dare not speak publicly.
Look at his words, if you have an understanding of history, you will slowly read them. If you feel that he is deeply suppressed, then you will be moved. Why?
Human repression is a common experience, and people in every era have some kind of repression. When you see him expressing it to you in such a perfect form, sometimes you unconsciously don't expect to cry, tears will fall down, or after watching it, you feel that the food cannot be eaten or something is wrong. Why?
Because he is not just a matter of the natural world, but there is also a virtue within him. In the 1950s, there was an American painter who painted abstract paintings, which were basically composed of large blocks of color blocks such as square blocks with regional shapes. But when he was exhibited in Manhattan, USA in the 1950s, many viewers shed tears in front of his images. Why did they shed tears?
Later, who said that, like talking about publicity, he, we Chinese people shed tears in front of the painting, but we did not have another picture, why?
He said he was a child of a survivor of the Nazi Holocaust in the 1950s who died nine times. He estimated that people who shed tears are often like this, because he feels an extreme suppression from the contrast between the colors of the blocks and the light. You don't need to show barbed wire, look at pictures of wolves, dogs, corpses, or bones at all.
A person with aesthetic experience and ability naturally feels that this is better than having piles of bones piled up there. Let me show you, to be disrespectful, we also paint pictures of the Nanjing Massacre. There are too many of them, and he doesn't know how to express such a tragedy. He thinks it's a task. Chinese people should not forget that I killed the people under him horribly. Here is a bone, and there are two broken hands. This is not the way to show it.
It is not only an improvement in one's cultivation, but also a requirement for one's soul. Your ability to feel, your thinking ability, and your ability to connect truth and kindness are beyond our control. That's why we have drawn such things.
Kant believed that the connection between the sensory world of scientific knowledge representation and the moral world representation is due to the various similarities between beauty and goodness, which, first of all, directly make people feel happy. When we see goodness and beauty, we feel a kind of pleasure, such as inner pleasure. However, beauty brings us pleasure through reflection and intuition, while moral goodness brings us pleasure in concepts. Through the concepts of justice, equality, and fairness, it brings joy.
Secondly, beauty brings pleasure or pleasure without any interest, while moral goodness is indeed associated with certain interests, but it does not come before moral judgment, but follows it. With such a moral judgment, I will have such a moral interest. In addition, in aesthetic judgment, imagination and intellect reach harmony, while moral goodness suppresses the universal laws of practical rationality and harmonizes with itself. In aesthetic judgment, it is an intellectual harmony of imagination. In morality, goodness is the harmony between the universal laws of will and practice.
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