Abstract

First in the history of Chinese aesthetics Sheikh "Vivid" This proposition, which is the source of "paintings goods recorded sequence," "Six," the first proposition. This theory was originally just for portraits, but later gradually affect a variety of painting subjects, and even used to describe the kind of art other than painting the highest level, to the Song Guo Ruo the "Six fine theory, eternal inalienable" thesis. The rise of landscape painting during the Five Dynasties have been reaching maturity, the painter Jing Hao in his "strokes in mind," made ​​for landscape painting of the "six to" Six of these six with the same Sheikh, Sheikh Six of these are related to the second proposition techniques required, and Jing Hao, six to the third proposition the following requirements are also relevant techniques. Jing Hao, the first two propositions to the gas, rhyme separately, together, in essence, is the Sheikh of the first proposition. The two on the aesthetics of the general principles are derived from the "gas" thinking, and the development of landscape painting and Taoist thought they fit, so the comparison in this study work can be traced back to the Chuang-tzu's "Shinsaibashi" " Oblivion. " Because they are also "Gas" On the origin of one of the original idea. Therefore, this article Zhuangzi as a link to Sheikh with the concept of Jing Hao roots as an intermediary in this study. Xie He was the first one who brought up the proposition of "spirit-resonance life-movement" in the history of Chinese aesthetics. "Spirit-resonance life-movement" was the first one of Xie He's six principles as found in the preface to Classification of Painters. This theory of six principles was applied only to figure paintings at first but then extended gradually to all kinds of subjects. The term was even employed to describe the supreme state of art forms other than paintings. In the Sung Dynasty, Guo Rou-xu said that the theory of six principles was eternal. In the Five Dynasties, landscape painting reached its maturity, and Jing Hao proposed his theory of six rules about landscape painting, which was not so different from Xie He's. In Xie He's six principles , the second to the sixth propositions were about skills, while the third to sixth propositions in Jing Hao's six rules were also about the demand of skills. Jing Hao separated "spirit" and "resonance" into two propositions in his six rules , while they were combined as Xie He's first proposition. These two aestheticians derived their general theories from the thought of "spirit ", and the development of landscape paintings was compatible with Taoism. Therefore the comparison we make in this paper can be traced back to Zhuang Zi's" the fast of mind "and" sitting in forgetfulness, "since these two ideas were part of the source of the thought of "spirit." Accordingly, we take Zhuang Zi's thought here not only as a conceptual source that connected Xie He and Jing Hao but also as the intermediary of our study