Chapter 483: The Spider Demoness Priestess
[Foreword]
Traditional Chinese artistic philosophy is the fundamental basis for the formation, and subsequent development and changes, of Chinese art. The fundamental questions of Chinese art can only be thoroughly answered by delving into traditional Chinese artistic philosophy. This philosophy is the artistic ideal of the great art tradition that China has developed and transformed over thousands of years, continuing to the present day. Art itself is a new discipline in the West. It gradually took shape from the proposition of “aesthetics” by Kant in the mid-18th century, until Nietzsche and Bergson in the latter half of the 19th century. By the 20th century, due to changes within the art world itself, art philosophy began to become an important branch of the philosophical world. However, in China, art philosophy has a much longer and deeper tradition. From the era of Confucius, Laozi, Mozi, and Zhuangzi in the pre-Qin period, there have already been profound, rich, and fundamentally directional artistic philosophical ideas.
The ideas of art philosophy do not merely revolve within the realm of art. They are directly connected to the realms of life, culture, philosophy, and religion. The greatest and most fundamental characteristic of Chinese art philosophy is its deep roots in the philosophical foundations of Confucius, Laozi, Mozi, and Zhuangzi. Since ancient times, Chinese thinkers and artists have continuously upheld the tradition pioneered by Confucius, Laozi, Mozi, and Zhuangzi, engaging in profound, uninterrupted exploration, innovation, and development within the realm of art. Therefore, to explore the fundamental value of Chinese art, it is essential to provide a profound, detailed, and uniquely insightful interpretation and analysis of the roles played by Confucius, Laozi, Mozi, and Zhuangzi in art philosophy.
The core of Chinese art philosophy is the concept of “life.” Although Western art philosophy, under the promotion of Kant’s aesthetics in the latter half of the 18th century, also touched upon the concept of “life,” it does not possess such a deeply rooted and vast tradition as Chinese art philosophy. Due to this deeply rooted reason, traditional Chinese art forms, such as calligraphy, painting, sculpture, architecture, ceramics, gardens, music, and drama, are all profoundly rooted in the philosophy of life. It is this worldview and methodology centered on “life” that forms the basis of the unique charm and endless development potential of Chinese art.
The purpose of this book is to present the origin, essence, and direction of development of Chinese art to the reader through an in-depth exploration of the art philosophies of Confucius, Laozi, Mozi, and Zhuangzi.
Chinese art philosophy is distinctly different from that of the West. It is deeply rooted in China’s worldview and philosophy of life. In the West, art philosophy is a newly emerging discipline, originating with Kant, who proposed the proposition of “aesthetics.” However, in China, the history of art philosophy is much longer. As early as the pre-Qin period, the academic thought of Confucius, Laozi, Mozi, and Zhuangzi already contained profound and rich artistic philosophical ideas. These ideas not only influenced the formation and development of subsequent Chinese art but also became the unique temperament of Chinese culture.
This book attempts to explore Chinese art philosophy from eight aspects:
[1. Life]
The core concept of Chinese art philosophy lies in “life.” The traditional Chinese metaphysics of “heaven, earth, and humanity,” and the idea of their mutual reference, directly lead to an art perspective dominated by “life.” Confucius’s “benevolence” emphasizes the moral dimension of human life; Laozi’s “Dao” directly centers on cosmic life; Mozi’s “universal love” centers on social life; and Zhuangzi’s “free and easy wandering” centers on individual life. These four concepts of “life” are intertwined, collectively forming the profound connotation of Chinese art philosophy.
For Chinese philosophers, art is not merely the pursuit of “beauty” but is about the reproduction, experience, expression, and exploration of “life.”
[2. Universe]
In Chinese art philosophy, the “universe” is not an objective existence outside the artist and their works. The traditional Chinese worldview is vastly different from the Western traditional “big history” (a macro, objective worldview starting from creation and ending with judgment). It is a “life-centered worldview” dominated by “small history” (a micro, subjective worldview starting from experience and ending with enlightenment). It is not a metaphysical “entity” like in the West, but rather a “metaphysical true form of life” (meaning that in essence, the universe is life, and life is the universe).
In Confucius’s philosophy, “heaven” is the core of cosmic life; in Laozi and Zhuangzi, “Dao” is the pivot of cosmic life; in Mozi, “universal love” is the ultimate value of cosmic life.
Chinese art expresses not only the narrow aspects of human life but also the vastness, profundity, and infinity of cosmic life.
[3. Metaphysics]
Traditional Chinese art philosophy is deeply rooted in metaphysics. In the pre-Qin period, “metaphysics” was the life view of mutual reference between “heaven, earth, and humanity,” which directly led to the fundamental value of art. Confucius’s “benevolence” is the embodiment of moral metaphysics; Laozi’s “Dao” is the embodiment of cosmic metaphysics; Mozi’s “universal love” is the embodiment of social metaphysics; and Zhuangzi’s “free and easy wandering” is the embodiment of individual metaphysics.
It is this metaphysical foundation that provides the inexhaustible vitality and unique charm of Chinese art.
[4. Aesthetics]
Western art philosophy centers on “aesthetics,” but its origins in aesthetics are very recent (namely, Kant’s proposition of “aesthetics”). Although Western aesthetics explores the relationship between beauty and art, it can never escape its dualistic opposition of materialism and idealism.
Chinese art philosophy does not regard “aesthetics” as the sole ultimate purpose. However, its experience of “beauty” is richer and more penetrating. The essential characteristic of aesthetic experience in Chinese art is “realization.” This concept of “realization” is deeply rooted in traditional Chinese metaphysics and is a “life-centered aesthetic view.”
[5. Creation]
“Creation” is the essence of art. Western artistic creation emphasizes “imagination,” which is the transformation centered on the “self.” However, the creativity of Chinese art philosophy is deeply rooted in “nature.”
Confucius’s “benevolence” is moral creation; Laozi’s “non-action” is natural creation; Mozi’s “universal love” is social creation; and Zhuangzi’s “free and easy wandering” is life creation.
The creation of Chinese art is not measured by “humanity” but by the “universe.” The artist is a spokesperson for the “universe.”
[6. The True Form of Art—Water]
The essential nature of Chinese art is symbolized by “water.” The essence of Laozi’s philosophy lies in “water.” Water is the fundamental basis of cosmic life and the fundamental basis of Chinese art. The realm that Chinese art pursues is the realm of “the highest goodness is like water.” The formlessness, impermanence, flexibility, and changeability of water have become the fundamental attributes of Chinese art.
Between “softness” and “hardness,” “roundness” and “squareness,” “movement” and “stillness,” there is no aspect that is not imbued with the life essence of “water.”
[7. Artistic Form—Round]
The formal principle of Chinese art is symbolized by “roundness.” Roundness here refers to metaphysical roundness, not geometric roundness. Roundness represents the cyclical repetition of cosmic life and is also the aesthetic taste of Chinese art.
Confucius’s “benevolence” is the roundness of the heavens and the squareness of the earth; Laozi’s “Dao” is endless roundness; Mozi’s “universal love” is the roundness that encompasses all under heaven; and Zhuangzi’s “free and easy wandering” is the roundness of freedom and ease.
Without the concept of “roundness,” it is impossible to truly understand the fundamental spirit of Chinese art.
[8. Artistic Taste—Simplicity]
The artistic taste of China is “simplicity.” Simplicity does not mean mediocrity or monotony but a refined and profound state of “returning to the original simplicity.” Simplicity is the great wisdom and great freedom attained by artists and their works through the complete shedding of worldly impurities and narrowness.
This concept of “simplicity” embodies the essence of Confucius’s “doctrine of the mean,” Laozi’s “non-action,” Mozi’s “universal love,” and Zhuangzi’s “free and easy wandering.”
The great tradition of Chinese art is the tradition of “simple art.”
[Epilogue]
“What does Heaven say? It is the seasons that move, and the hundred things are born. What does Heaven say?” – Analects
The beauty of Chinese art lies in its deep roots within the life of the universe, coexisting with heaven and earth and growing with all things. It is art for “life,” not for “beauty.” Great Chinese artists are all philosophers of life and poets of the universe. Ultimately, all aesthetic values of art must be reduced to the true form of “life.” This is the most fundamental philosophical spirit of Chinese art.
It harmonizes with the “way of Heaven,” blends with the “virtue of Earth,” and communicates with the “human heart.”
The spirit of Chinese art is the greatest and most solid, the most soft and most round, the simplest and easiest, the highest and most profound. It has permeated the long river of Chinese history for thousands of years and will continue to bloom with undying brilliance in the future cultural development.
