I often think that he proposed such a judgment, and of course, judgment depends on our human abilities. For example, if we have practical abilities, we will naturally make judgments; We have theoretical and rational abilities, and we can make judgments about natural science and knowledge; Similarly, if we have the ability to appreciate, we can make judgments.
Anyway, this ability should include nature, at least I think Kant must have thought so. Through judgment, there are both necessary and free factors, both passive and active factors.
When discussing art, it naturally involves art, and there is an intention in it that art, in Kant's view, is a representation that is his own purpose. Although he has no external purpose, Fang said that passing the English CET-4 and CET-6 exams may be for the convenience of applying for graduate school admission in the future, or sometimes just for personal use.
Art does not have such an external purpose, but it has an internal purpose. His inner purpose is to promote the cultivation of our spiritual energy. This is very important. There are two divisions in modern society, one is art. Hegel included art aesthetics, and art is going to end in modern society.
I really admire how he saw this 200 years ago. It's really amazing. Art is not art at all. What? Many of the things we see now, including movies, dramas, paintings, and various popular songs that we are familiar with, are not art. Why?
Because art ultimately aims to contribute to our spiritual abilities, cultivate our spiritual abilities, and develop our cultivation. This kind of thing not only cannot, but also can make us infinitely savage. You see, movies and TV dramas nowadays are also like this, satisfying the extremely savage and vicious things that each of us has in our hearts.
So, ancient people saw very clearly that precisely because of this, major religions were actually using their own ways to contain it. The problem is that modernity is fundamentally flawed. He believes that it is not meant to be restrained. If you release it all, it will be like us now.
I have always had a wish that one day I will be able to embrace Hegelian aesthetics, which is an extremely important step. A work that he could read so far because at that time, of course, no one would have said that art is for making money, and there were no market rules anymore. He had already seen that modernity would inevitably lead to the end of art, which was really unbearable.
Recently, I used to be okay with Lai Shengchuan. Besides, I think it's more acceptable for you, a Chinese actress, to refuse. He has a potential that is different from ordinary actresses, and he is relatively calm. The biggest problem with Chinese actresses nowadays is the comparison of shrew women, because art requires the representation of many deep things, even male and female love, there are also deep things. You go watch the Japanese movie "Sensory World" directed by Nagisa Oshima.
What you need to be able to understand, you won't have time to read it for the first time because it has a lot of impact on many things. After watching it the second and third time, you will know that there is something very deep inside, including the arrangement of many shots and details. Great, don't think that there is nothing in the world that cannot be expressed or written about. The question is how do you write it?
Because I am about to be invited to attend a seminar on the history of modern Chinese art. The most painful thing for those who are currently engaged in the art world and use their brains is how to justify Chinese modern art and prove it under the overwhelming advantage of Western art. They believe that in the modern world, we should express what is being expressed in the world now. The original painting style and its representation of mountains and waters are no longer acceptable, because this is the life of literati. We have to rush to the subway or drive to the highway early in the morning, and we cannot have this kind of mentality.
Moreover, I never expected that one time when I was attending an art exhibition at the Old Shanghai Art Museum, I would only see some painters from the 1960s, of course, some less important ones. There are two people next to me, probably around the same age as me, one as old as me and one younger, about thirty or forty years old. That person told the woman that we can't draw it now, why?
He said that at that time, the hearts of these painters were so calm. In the 1960s, they couldn't compare with the classics of ancient times. They thought we couldn't paint like this. We can't draw flowers, birds, insects, and fish either. In the information age, within a minute, we can communicate with people on the other side of the ocean, or in other words, videos can appear. In such a situation, especially when our phones are turned on, we can come from various sources such as Weibo and WeChat. How can we draw?
In fact, Marxist Leninist education really works. It has a decisive consciousness. I am now living in an era of Boeing Fichte, in an era of high-speed rail. I cannot paint landscapes like those painted by the Eight Great Mountain People, or even those painted by Shi Tao. Later, I raised a question. What do you admire in the Western world, Gauguin?
It was through a few salted fish and a few apples that the revolution was accomplished.
He connected color blocks and lines together, fused them together, and then broke our Chinese people. In modern times, it was like logic that philosophy worshipped. The art world admires three-dimensional perspective because they believe that Chinese painting does not have perspective and is unscientific. However, Saishang precisely wants to break through the perspective of three-dimensional perspective. Painting is originally a two-dimensional plane, and he believes that three-dimensional perspective is an illusion. In Kant's words, it is an illusion. It is originally a plane, but the problem is not whether you are three-dimensional or two-dimensional. It is that in these two apples, I have drawn the life of the apples. Through light and color, you feel that the apples can move you.
So, it's not about drawing anything at all. In the last century, our painters, under the call of the Party, painted the explosion of atomic bombs, the transformation of the Thirteen Tombs Reservoir, and the vibrant revolutionary life of the working people. This was not about establishing subjectivity or not, but rather about the object of art. Nowadays, these guys are also in the modern society in newspapers. You, Lai Shengchuan, are planning to rearrange Chekhov's seagulls. The seagulls are a script that I really like.
But he said it's a comedy. I was planning to buy tickets, but now he's performing it like this. I'm sorry, I don't want to watch it. If I have time, I can go and read Chekhov's script.
After going to Gauguin, you will understand what cultivation is. People who don't read Chekhov's novels usually read Western novels in order to understand what education is. Then, why do we have some dissatisfaction with Mo Yan? It's just that Mo Yan is a good writer, that's not a problem. But his use of language and handling of many things may not be praised, but it's no wonder he lived in an uncultured era. You can see from his memoirs that he read about the Romance of the Three Kingdoms, the Annals of the Eastern Zhou Dynasty, and how they talked about the Tang, Sui, and Tang dynasties. It's not about Tolstoy growing up, how can he be cultured? There's nothing he can do.
Our current traditional Chinese culture has two aspects: one is to worship the external aspects of Kunqu opera, and the other is that you read Kunqu opera not for other reasons, but to improve your own literacy. These are completely different things. Art, regardless of the object, you can express anything, whether it's murder or sexual intercourse. Of course, progress can also be expressed without any problem. You can express anything, but the problem is that just like novels, you can write anything, the problem is how you express it.
We have lost our energy and focus now. In fact, there are still some people in the painting industry who have ideas, really have ideas, and are very serious. It's just that their thinking has many premises, and they don't realize that the premises are wrong, which makes them feel very painful. How can we Chinese people express the subjectivity of modern Chinese art. Indeed, it is a very important issue.
I went too far. Art promotes the cultivation of spirit, but its purposefulness is naturally manifested in the form of art. The exquisite craftsmanship of art, where an increase of one point is too much and a decrease of one point is too little, makes you feel like there is someone deliberately arranging it. Of course, artists have their own unique craftsmanship, and we will definitely have Chinese art enthusiasts. We generally think that traditional Chinese gongbi paintings are either a little more or a little less.
We think that the freehand brushwork is free flowing, and there is no proportion and color matching. In fact, it is also wrong. Pan Gongkai, Pan Tianshou's son, is now a great artist in our country. Many foreigners and Chinese people have said that he paints better than his father. Of course, he later said that I am not as good as my father. Why?
He just said one thing, he said that my father's paintings are really exquisite, increasing by one percent is too much, and decreasing by one percent is too little, accurate to millimeters. He said that he often feels that something is wrong after finishing a painting, and where is it?
Just two words, the height of the two characters is uneven. In the future, when they are lifted down and pieced together a few more times, the demand for precision has reached an unimaginable level. Therefore, he said that I have seen him draw, and he said that now, in order to urge myself, I hang my father's painting on the wall. Every day, I look at it, and you really feel that his pursuit and grasp of precision have reached the pinnacle, which is quite particular.
I just realized that with a big stroke of the pen, it's not like we think that after drinking alcohol, we can't wake up and pick it up to draw. Art must have a form, and freehand brushwork also has a form. If we can freely draw, we can also become artists. It's like Westerners giving a pen to a gorilla or monkey, that's okay, he's also an artist?
Don't misunderstand, I finally understand that Chinese freehand brushwork is an art form that actually has a strong sense of form. However, the sense of form is what Kant said about the impossible. He has the law, but what you can't say is not like gongbi painting, where you can write a book. There are several commandments that cannot be violated. Gongbi painting is ridiculous and not decent. He knows how to use colors. It turns out that Yu Feiying has written about the color movement in Chinese painting, and he is mainly a Gongbi painter.
