Who defines art by emotional freedom and creativity

Freedom of expression in artistic creation can be correctly understood from the following aspects:

1.Freedom of expression is a fundamental right to artistic creation, but it is not an absolute and unrestricted freedom.

2.Freedom of expression should be based on not violating the law and not harming the rights and interests of others. Art should not be an instrument of crime and hatred.

3.Freedom of expression is not the same as freedom of responsibility. The artist is responsible for the content and impact of the work.

4.Freedom of expression should respect differences and diversity, not be reduced to unity of thought. Independent thinking and rational criticism are encouraged.

5.The artist has the freedom to choose subjects and forms. But the audience is also free to interpret and evaluate the work.

6.Freedom of expression is not only the freedom to create, but also the freedom to display, publish and receive works of art.

7.Freedom of expression requires an open and inclusive social environment. Different voices need to be listened to.

8.Freedom of expression should be institutionally guaranteed and rationally debated within the legal framework, rather than being suppressed and censored.

In summary, freedom of expression is the source of artistic vitality, but it also needs to find a proper home under the common law of reason and morality, so as not to go to extremes. A correct view of the freedom of expression in artistic creation will help promote the openness and progress of society.

The principle of freedom of artistic creation is given by (+). +a

Creative freedom" has both epistemological and ontological implications. The so-called freedom of creation does not refer to the epistemological sense of the sensitive understanding of Bichen and the transformation of the objective world, but refers to the independent observation and thinking of literary artists, and the artistic creation of what to write and how to write without any constraints and restrictions, that is, to believe in writers and artists and give them the freedom to engage in artistic creation in accordance with the laws of art, and to respect their originality in artistic thinking and the play of their creative personality. In the process of creation, writers and artists must have the freedom to choose themes, themes, styles, and artistic expressions, to express their thoughts and feelings, and to criticize and counter-criticize.

Heroic and delicate, serious and witty, lyrical and philosophical, as long as people can be educated and inspired, entertained and enjoyed, they should all occupy their own place in our literary and artistic garden. Creative freedom is related to the authenticity of literature and art and the exertion of the artist's creative personality, so it is an important issue in aesthetics and literary theory.

Take China's ** family Xian Xinghai as an example. Xian Xinghai studied in France and lived in the Latin Quarter of Paris as a poor international student. The bitter cold wind pierced through the broken windows and cracks of the old house, and the gusts of wind rushed in, making him too cold to sleep.

He recalled in the book "My Learning of **": "I shivered, listened to the cold wind hitting the wall, passed through the doors and windows, roared violently, and my heart shook violently. All the bitterness, spiciness, bitterness, and misfortune of life and the motherland are surging.

I couldn't control my feelings, so I wrote this trio of soprano, clarinet and piano. The difficult situation he was in when he was studying in France made him sad, but this sadness was not only an emotion born from a specific situation, but also an overall acceptance of life and the destiny of the nation, which contained the comprehension of a certain transcendent existence, thus forming a feeling of compassion for the heavens and people. In order to see this comprehension clearly and express such feelings, this led to his "trio" creation this time.

Art seems to be a threshold, and everyday emotions change qualitatively when they cross this threshold. This qualitative change is that it is free from its direct relation to concrete objects, and thus no longer represses or suppresses us, that is, it is no longer an "object-oriented emotion".