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Discussion on Inspiration Theory in Chinese Classical Aesthetics

DOI: 10.4236/als.2017.54008, PP. 94-104

Keywords: Inspiration, Enlightenment, Intuition

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Abstract:

The Chinese classical aesthetics starts from the simple theory of interaction between the heart and object, and has made smart and rich interpretations on inspiration thinking in art creations, and is full of the dialectical thinking flame of “unity” and “disunity”: both emphasizing unexpected “cherishing by chance” and emphasizing voluminous “knowledge accumulation and treasure storage” in the potential gestation; as for the approach of acquiring inspiration, both highlighting the perceptual “tacit understanding”, and highlighting the soul and object correlated “soul comprehension”; as for the stimulation and trapping of inspiration, both showing appreciation to the digression “reflection” of “ingenious nature, without fabrication”, and highlighting the timely materialization of “chasing and catching in a hurry”.

References

[1]  Ai, Q. (1979). The Poet Speaks The Truth. Nan Fang Daily, 2.
[2]  Qian, Z. S. (1984). Notes on Literature and Art. Zhong Hua Book, 272-275.
[3]  Qian Z. S. (1986). Guan Zhui Bian. Zhong Hua Book, 1186.
[4]  Zheng, Q. Y., & Li, X. D. (1987). The History of Chinese Aesthetics. Hebei Peoples Publishing House, 139-142.

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