Abstract
Traditional Chinese social concepts have always been controlled and constrained by the thinking of “wén yǐ zài dào”(Literature Is the Vehicle of Ideas, in Chinese “文以载道”), but the so-called “wén yǐ zài dào”(Literature Is the Vehicle of Ideas, in Chinese “文以载道”) here is an extremely generalized concept. The “wén” (literature, in Chinese “文”) here can refer to any kind of material carrier, image or action. In short, it is a material presentation related to the physical world. The “dào” (Tao, in Chinese “道”) here refers to any kind of spiritual essence. In the view of traditional Chinese literati, the form must be loaded with a certain spiritual essence in order to have meaning. Through the study of the visual arts of the Ming Dynasty (明代), we will find that in the Ming Dynasty (明代), no matter the presentation of various objects such as clothing, furniture, book illustrations and literati painting or physical activities such as entertainments and travels have already broken away from the thinking mode of “wén yǐ zài dào” (Literature Is the Vehicle of Ideas, in Chinese “文以载道”). Not only has the aesthetic form separated from its core and existed independently, but the form has also begun to develop in the direction of expansion.
Published Version
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