Please help me with the spirit of Chinese art

The main categories of ancient Chinese art are: literature and art; Opera; ③**；Dance; Painting; 6 buildings.

1. Existence and non-existence - hazy beauty.

The artistic conception should be treated as the ethereal realm of art. In the artistic thinking and the structural system of the work of art, it is a part of the ethereal spirit as a whole. Of course, in Chinese philosophy and artistic thought, rationality and sensibility, metaphysics and metaphysics, cannot be completely separated, the two belong to different levels, and are in a special and high-intensity unity.

2. Finite and infinite - the beauty of transcendence.

The composition of artistic conception itself lies between the image and the non-image. The so-called image means that it is connected with the image in the work and the imagination; Imagelessness means that it is a non-figurative abstraction. This is like qi, qi has an image and no image, qi stretches and changes freely, and its time and space changes are also arbitrary.

The absence of the spirit of Chinese art is most evident in Chinese painting and calligraphy. Tao, the spirit of traditional Chinese culture. Qi, the life of traditional Chinese culture.

Heart, the aesthetic line of traditional Chinese art. Dance is the best wisdom of traditional Chinese culture. Enlightenment is the intuitive thinking of traditional Chinese art.

Harmony is the dialectical thinking of traditional Chinese art.

Confucianism, Buddhism, and Taoism all have a reverence for nature.

One of the basic meanings of the book is to explain that Zhuangzi's emptiness, tranquility, and clarity are actually an artistic mind, and the root of artistic value, that is, the mind that is in the void, quietness, and clarity. To put it simply, art requires the establishment of an object of beauty. It is precisely based on this line of thought that Xu Fuguan only focuses on the philosophical elucidation of the Confucian artistic spirit represented by Confucius and the Taoist artistic spirit represented by Zhuangzi in the first two chapters of the main text of The Spirit of Chinese Art, highlighting that only the Taoist artistic spirit represented by Zhuangzi constitutes the main body of Chinese artistic spirit. The last eight chapters focus on the interpretation of painting and painting theory after the Han Dynasty, revealing the profound influence of the Taoist artistic spirit represented by Zhuangzi on the evolution of ancient Chinese painting and painting theory.

The Spirit of Chinese Art is one of Xu Fuguan's representative works, and together with the History of Thought of the Han Dynasty and the Han Dynasty, it is considered a must-read classic for anyone who aspires to the history of Chinese thought. The book is the result of the combination of aesthetic theory and historical research, divided into ten chapters, except for the first chapter on the spirit of ancient art, the remaining nine chapters are on the art of painting and the spirit of Chinese art contained in it. There are many insightful insights in the book, clear righteousness, and detachment.

Xu Fuguan deeply studied the realm of Zhuangzi's Taoism, Enlightenment, and Enlightenment, and found that it was similar or identical to the beauty and art discussed by modern and modern Western thinkers, and thus concluded that Zhuangzi's Tao was the spirit of Chinese art. This is a seminal role in the study of the spirit of Chinese art.