In my opinion, aesthetic photography is an inevitable process of human aesthetic activities and a special way of practical contact between aesthetic subject and object. The entry of aesthetic state and the realization of aesthetic activities depend on the occurrence of aesthetic reflection at this stage to a great extent. As an aesthetic experience, aesthetic photos are closely related to intuition, imagination, association, memory and empathy, but they cannot be equated. In the practice of aesthetic activities, observation and intuition are very similar, even have some common properties, but in theory, aesthetic photos are irreplaceable. If all the elements of aesthetic experience do not necessarily appear or exist in the aesthetic process, then aesthetic photos are essential. In other words, it is not an "aesthetic" activity without aesthetic observation of this process. In a sense, aesthetic photography is the most critical and essential link in aesthetic activities, and its existence is a sign that aesthetic activities are different from general cognitive activities.
Aesthetic photos are the most direct connection between aesthetic subject and object. Observation is an intuitive and vivid way, which projects objects with representational forms purposefully, thus generating images with aesthetic value. There can be no visual way to observe, which also means that the object of observation must be the object of appearance. At this point, I quite agree with the British aesthetician Bao Sangkui. Bao Sangkui believes that only concrete and perceptual things can become aesthetic objects. He said: "Nothing is useful to us except what we can see. What we feel or imagine is only what can be a direct representation or representation. This is the basic theory of aesthetic reproduction. " [1][ 1] But at the same time, aesthetic photos are far more than ordinary visual viewing, and they also combine obvious psychological activities. The original meaning of "observing" comes from China's philosophy, and its meaning is not limited to general visual viewing, but refers to grasping the noumenon and ultimate meaning of things through visual viewing. (This will be discussed below. )
Observation does not exclude cognition, and the process of observation will include the generation of cognitive value; And if knowledge is the essence of observation, it is naturally a distortion of observation characteristics. Observation is the appreciation and experience of the aesthetic subject when he looks at the object with emotion and wisdom beyond logical thinking. This process is not only a reflection of the object, but also a unique angle to transform it into an aesthetic image based on this object. It is not only the object of appreciation, but also the mutual investment with the object, forming the relationship between things and me. The aesthetic relationship between subject and object is thus formed, and the generation of aesthetic value is also in this process.
Aesthetic photos need corresponding conditions for aesthetic subject and object. As far as the object is concerned, it can be the object of aesthetic photography. First, it is perceptual and concrete, which can provide a prototype or a whole material for the aesthetic subject. Second, the object itself has some aesthetic attribute or cloud beauty potential, which makes its beauty potential or attribute appear or "bright" in the intentional call of the subject; From the perspective of aesthetic subject, we should first eliminate desire, make our mood empty and focus on the object; Second, the subject is intuitive and has unique wisdom and spirituality. Without this condition, it is difficult to talk about aesthetic photos.
Aesthetic photography is a special way of human subject-object relationship, and the process is relatively short. It is hard to imagine long-term meditation with the object. Aesthetic photography is the most important and critical stage for the subject to enter the aesthetic process and aesthetic situation. When the subject enters the aesthetic photo, he temporarily cuts off all contact with other things in any way, and puts himself into the object's attention intentionally or unintentionally, thus producing aesthetic pleasure. The shape of the subject and the object has become a situation in which things are forgotten by me. In fact, things in this situation and I forget each other are just a feeling theme. But it is precisely the aesthetic pleasure produced by the subject that accompanies this situation. When meditation reaches its peak, it is what Schopenhauer called "self-lost". Schopenhauer deeply discussed the subject's situation when taking aesthetic photos. He said: "At this time, according to a meaningful German idiom, man lost himself in the object, that is, he forgot his individual and his will;" He just exists as a mirror of a pure subject and object; It seems that there is only one object and no one is aware of it, so people can no longer separate the intuitor [person] from the intuitor [self], but the two have become one; At the same time, the whole consciousness is completely filled and occupied by a single intuitive scene. " [2][2] Schopenhauer's "intuition" is basically consistent with our "observation" in aesthetics. Schopenhauer's point of view has its own starting point, but the analysis of "intuition", that is, aesthetic photos, is more sufficient and practical. It is worth noting that Schopenhauer pointed out aesthetic pleasure (or cloud "pleasure") when discussing aesthetic photos. He said: "Whether it is caused by works of art or directly caused by observing nature and life, it is essentially the same pleasure." [3][3] In my opinion, the process of entering aesthetic photos will inevitably bring the aesthetic pleasure of the subject. The subject cuts off the connection with other real things and focuses on a specific object with special interest and emotion, thus achieving the degree of selflessness and "self-loss" in the object, which can not but make the subject feel a kind of aesthetic pleasure filled with body and mind. Liu Xie's saying that "there is affection when climbing a mountain, and there is affection when watching the sea" (Wen Xin carves deep thoughts), and Tao Yuanming's saying that "picking chrysanthemums under the east fence and seeing Nanshan leisurely" (the fifth part of drinking), etc., all have a profound philosophical background in China and can be said to be "observed". The characteristics of aesthetic photos, such as subjective emptiness, ecstasy, intentional connection between subject and object, intuition, etc., are all contained in the ideological materials of China's philosophical aesthetics about "contemplation".
In China's ancient philosophy, Lao Zi's proposition of "removing metaphysics", Zhuangzi's proposition of "seeing independence" and Zhouyi's proposition of "looking at things and taking images" all had a vital influence on China's aesthetic thought. Chapter 10 of Laozi says, "Can I get rid of metaphysics and be flawless?" This is of far-reaching significance to the development of China's aesthetics. The popular version of Laozi is Qingmi, which is based on the second edition of the silk book and Gao Gai. Gao Feng explained the cloud: "Xuanjian, the inner light, is the mirror of metaphysics, which can observe things, so it is called Xuande." [4][4] "Jian" is a mirror for observing things. Laozi used a mirror to describe the mind. What Lao Tzu means is: You can have a clear and peaceful mind and gain insight into the mysteries of things. Zhuangzi has played a considerable role in this: "The sage is still, and everything is not enough to satisfy the heart, so it is still. When the water is still, the candle is bright and the eyebrows are clear, the level is accurate, and the master takes the method. The water is still bright, but the spirit is good! Heart of a saint, calm down! The mirror of heaven and earth is also the mirror of everything. " ("Zhuangzi. Zhuangzi also used calm water to describe the heart of a "saint". Because of the emptiness of the subject's mind, we can present a kind of mind to observe the object. Therefore, Zhuangzi compared the sage's heart to "the mirror of heaven and earth" and "the mirror of all things". What Laozi and Zhuangzi said mainly refers to the emptiness of the heart, which is the mirror of everything, without mentioning the role of vision, but in fact, the heart is mediated by its inner vision. I'm afraid Zhuangzi's so-called "seeing independence" is to add the internal visual function of the subject to it. Master said: "I will keep it after telling you, and I can change things after seven days;" It's foreign, so I'll keep it and give birth outside in nine days. It has been born outside, and then you can see it; Look forward to it, and then you can see independence. " Forget it outside. Foreign things, the outside world, exogenous, that is, forget foreign things, secular, and even exist. Chaoche, describe a clear mind. "Seeing independence" refers to seeing the "Tao" of independence and inaction, and seeing the profound and subtle "Tao" that you can't see. Zhuangzi added, "It depends! Listen carefully. I saw it alone in the dark. Silent, how to smell alone. Therefore, deep and profound, can be profound, God can be profound and refined. Therefore, it is connected with everything, which means nothing to it. When it's good, stay. " (Zhuangzi Heaven and Earth) This sentence means: insight is profound, but listening is silent. Far-reaching, but you can see its image; In the silence, I hear harmony. [5] [5] What Zhuangzi means here is that the insight into the Tao is through the way of seeing and listening. Of course, this is not a general visual observation, but to understand the depth of the Tao through perceptual functions such as sight and hearing. Zhuangzi's "audio-visual" here is noteworthy. From the visual point of view, look at the internal visual image more objectively. Both Laozi's "Xuanjian" and Zhuangzi's "Seeing Independence" are related to the object. Of course, people and things are seen in the mirror, and "still water" is also called "bright candle and one eyebrow", both of which are directly related to the object. In the words of phenomenology, it is "intentionality".
As one of the important sources of China's ideological history, it is self-evident that the thought of "observing things and taking images" in Zhouyi has a far-reaching influence on the development of philosophy and aesthetics in later generations. There is a classic saying in the Book of Changes: "The ancients held the king of the family, looked up at the sky, looked down at the land, watched the articles of birds and beasts, and walked in the right place, far and near everything, so they started gossip to understand the virtues of the gods and the feelings of all things." This is the concentrated embodiment of the idea of "viewing things and taking images" in the Book of Changes. Yi Xiang itself is the product of "viewing things and taking images" "Looking at things and taking images" is first of all a visual view, while "looking up at the sky" and "looking down at the ground" are practical visual ways. But this "view" is not a general observation of objects, but a symbolic expression of the deep meaning of things through the observation of images. There is a cloud in "Cohesion": "A saint can see the world and suit his own needs, so it is called an image." The so-called "autumn" refers to profound and complicated things. The author of Zhouyi believes that "image" is the profound and indistinguishable truth that saints discover the world and imitate it into concrete images to symbolize the proper meaning of things. "Observing things" is the subject's direct observation of things, but at the same time it can grasp the internal mechanism of things.
The word "contemplation" has the highest frequency in China Buddhist classics. "Guan" and "Zhao" have similar meanings, but they are quite different when analyzed separately. "View" literally means: "Look at the truth." View (Shuo Wen Jie Zi) is an important practice method of Buddhism, that is, to "correct wisdom" and see various methods. Tiantai Sect of Buddhism in China takes "stop observing and cultivate both" as its doctrine. "Stop" is to stop delusions; "View" is the universal reality of cave view. "Stop" and "view" are like two wheels of a car and wings of a bird in Buddhist practice. The famous Buddhist Fang's explanation of "view" is: "The subject of all living beings observes the world and the truth with Buddhist wisdom, and the subject's heart is directly connected with the observed object, which is one, regardless of subject and object, which is called view; Or the subject observes the original mind, reflects on the original mind, and realizes the original mind, which is also called view. View is the observation function of Buddhist wisdom, and it is a meditation, that is, intuition and intuition. " [6][6] "Zhao" is common in Buddhist classics, and its meaning is similar to "view", but it is closer to "intuitive nature". Mr. Fang explained the cloud: "What is closely connected with the concept is the photo. Take a look at it. See you at the photo studio. Indian Buddhism says that Buddhists and Bodhisattvas have great use for seeing all living things. China's Buddhism links the highest truth and ultimate noumenon' Truth as' with the subject's heart, and Truth as also has the magical effect of observing everything. Truth, as an noumenon, is empty, so China Buddhism uses photography and silence together, and there is a saying of silent photography and photographic silence. Silence, silence, reflects the emptiness and statelessness of truth as ontology. Silent photos, that is, the observation function of silent bodies (really like noumenon). " [7][7] We can see the meaning of "Zhao" from Buddhist classics. In the Southern and Northern Dynasties, Huida expounded Shen Tao's "epiphany" in Zhao Lun Shu: "A husband speaks strangely and his words are brilliant. With a unique understanding, there is no symbol. " [8][8] Xie Lingyun's "Little Epiphany" said: "The husband is not coming, and he is religious. Why is there still a long way to go? If you believe in teaching, you will make progress every day; If it is not gradually clear, it is meaningless to enter the photo. " [9][9] "Everything, like me, comes from photos." (ibid., p. 477) Zhu Daosheng, a famous Buddhist thinker in the Northern and Southern Dynasties, said, "If I don't know, why can't I distinguish it from photos?" Don't see the reasons outside, don't be completely ignorant. I don't know if I'm in the middle, but I can't control it! "[10][ 10] and so on. It can be seen from these discussions that "Zhao" is an intuitive and thorough understanding of the "ultimate truth" of Buddhism. In a sense, "Zhao" and "Wu" are synonyms. Mr. Tang Yongtong said: "The enlightened person is also called Zhao, which is true, constant, wise and rational. "[11] [11] But" photography "focuses on the intuitive way and the inseparability of the realized truth. Zen often says "wait and see". For example, the Six Ancestors Tanjing says: "Look at it with wisdom and don't give up all the laws, that is, see nature and become a Buddha." "Knowing nature has its own universal wisdom and is true to words." "If since the enlightenment can't get it, we must view the Prajna. In an instant, all delusions are extinguished, that is, when we realize it, we will know the Buddha. "The sixth ancestor Huineng said that' view' is the main method of' understanding nature'. Its first nature is "true words", that is, it is not a famous concept but an intuitive way; Second, the subject should have "Prajna wisdom". In China's artistic theories such as poetry, painting and calligraphy, there are many similar concepts of "contemplation", all of which are derived from philosophy, but they make the category of "contemplation" rich and pure in aesthetic significance. Zong Bing's famous painting theory "Preface to Painting Landscape" in the Southern Dynasties said: "The sage reflects the Tao, and the sage is sincere in taste. -I'm worried about my health, so I plan ahead. Write shapes with shapes and colors with colors. -and--don't go against the apocalypse, you have to be alone. The mountains are rugged and the clouds are forest. "[12][ 12] This observation contains the following meanings: first, the subject meets the" image "of the landscape with an empty and peaceful mind; Second, this observation is not a general "look", but a process of integration with me, focusing on releasing feelings; Third, what you get from observation is not only the landscape form, but also the spiritual interest and charm produced in the integration of things and me. This is beyond form and quality. When talking about the "thinking" in his creation, Liu Xie said: "It is based on the spirit of Tao Jun's literary thought. It is important to be quiet, to relax the five internal organs and to bathe in the snow. Accumulate knowledge and store treasures, exercise discretion to make a fortune, study and study poorly, and train for condolences. Then the mysterious solution is slaughtered, and the sound is used to make ink; A craftsman who shines alone can glimpse its image and recite it. The "poor photo" can be understood as an epiphany; The solo craftsman obviously borrows the concept of Laozi and Zhuangzi and integrates Buddhist thought, which means that the subject produces a unique aesthetic image through the observation of foreign objects. The theory of "contemplation" in China's ancient aesthetics has a distinct axiological orientation, that is to say, while the subject takes aesthetic photos, it is also a process of generating aesthetic value. This is particularly evident in artistic creation. For example, in the poem Poetic Style, Wang Changling, a poet in the Tang Dynasty, said, "One day, he thought. Long-term use of ideas consumes wisdom. When the mind is open, the heart will light up and the rate will naturally come. "It means that the poet stopped thinking hard, relaxed his mood and looked at the outside world when he was struggling to find his own poetic thoughts. Perhaps his poetic thoughts will come naturally in this accidental opportunity. Zhang Huaiguan, a calligraphy theorist in the Tang Dynasty, said that the aesthetic realm of calligraphy was based on contemplation. For example, he said, "Those who know books deeply only look at the color, but not the shape. If the essence is profound, then everything is clear. What's the point? "[13][ 13]" If you don't shine in the dark, you will never know enough. Can be sincere, but can't say it. "[14][ 14] and Su Shi, a great poet in the Song Dynasty, said in his poems:" If you want to make poetry beautiful, you will be bored and quiet. Quietly, the group moved, but it was empty, so it accepted the thousand boundaries. See the world and walk the world, and observe the body lying in Yunling. Salt and acid are mixed together, and there is a taste in it. " It means that in the aesthetic photos of poetry creation, we can "move in groups" and accept "all kinds of scenery", which has a strong "supreme taste" that is difficult to describe.
In the aesthetic photos of artistic creation, the aesthetic subject often enters the realm of "materialization" where things and I forget each other, and achieves the ultimate integration of subject and object. Materialization, as an aesthetic relationship, reflects the basic propositions of "harmony between man and nature" and "integration of all things" in China's philosophy more profoundly than "interest" and "sense of things". Through aesthetic photos, the subject enters the peak of aesthetic experience, and interacts with the object in sense and consciousness, completely merging into one, as Zhuangzi said: "The purpose is not divided, but condensed in God." (Zhuang Zishengda) In my opinion, "materialization" is the free and unimpeded integration of the spirituality of the aesthetic subject and the physical property of the object, rather than the general "scene blending". At this time, the creativity of the subject has reached an unprecedented level because of the observation of the object, and the spirituality of the subject is highly awakened because of the attachment to the object; As a "thing", the object is not a simple "thing", but its "physical property" is "bright" because of the spiritual perfusion of the subject. When talking about materialization, Zhuangzi said: "Lingtai is one rather than the other" (Zhuangzi Shengda), that is to say, the spirituality of the subject and the materiality of the object are integrated without any obstacles. Guo Si and Guo Si, sons of Song Dynasty, talked about painting landscapes and clouds: "If you want to seize the nature, you should be indifferent to kindness, diligence and full sightseeing, and list your chest clearly, but you can't see silk, your hands don't know pen and ink, and you can't paint openly." [15] I'm afraid I'll never finish writing, so I'll read it from the grass again, so I won't know that I'm a grass bug when I write, and the grass bug is for me! This is no different from biological machines, and there is no way to pass it on! "[16][ 16] The artistic creation produced by aesthetic photos completely transcends the difference between subject and object, enters a superb realm, and also transcends rules and regulations, reaching the freedom of aesthetic creation. Aesthetic photos must be intentional, that is to say, observation cannot be a general view without objects, but should be aimed at specific related objects. At the same time, in aesthetic photos, the object of observation must be related to or filled with the subject's consciousness. As one of the most basic concepts in phenomenological philosophy, "intentionality" may be familiar to us, but if we want to use it to explain "aesthetic photos", we have to make corresponding explanations and understandings. According to Edmund Husserl, the formal founder of phenomenology, "intentionality" is an important concept inherited and reformed from his teacher brentano. It means that conscious activity always points to an object. As the basic structure of consciousness, intentionality means that consciousness always points to an object, always about an object, and this object can only be an intentional object. Husserl said: "We understand intentionality as a feature of experience, that is, as a consciousness of something. "[17][ 17] observation is the observation of something, and something, as an object, can only be the object penetrated by the subject's aesthetic consciousness.
Aesthetic photos undoubtedly have perceptual characteristics, but they are not limited to sensibility. Observation is inseparable from the role of vision, but it is also the concern of the mind. As far as the object is concerned, observation is not only the perceptual image, but also the essence of intuition. Buddhism says that "wisdom is for your own use, always look at the past" and "if you look at the truth, you will reach the Buddha's land". All this means understanding the reality of Buddhism. This is quite similar to the phenomenological "Weisenssau". Professor Ni Liangkang, a famous phenomenologist, explained the theory of "essential intuition" as follows: "The essential intuition (conceptual intuition) of phenomenology originated from the extension of the intuitive concept adopted by Husserl in logic research. On the basis of personal intuition, universal consciousness constructs itself in conceptual abstraction. In this universal consciousness, the concept of this individual thing and its universal thing becomes the given present. Husserl later said: The essence of being given is not a symbolic thinking, but an intuition, a perception of common things. [18][ 18] It can be said that what aesthetic photos have learned is the ontological things contained in the appearance.
The psychological function most closely related to aesthetic photography is perception. Observation is perceptual and intuitive, but what is presented to the subject's mind in observation is mainly perception, which is a comprehensive and complete perceptual whole, rather than scattered and partial sensory impressions. Huida said, "My husband said that people who are dumbfounded can't do without understanding, and the understanding is extremely bright." With a unique understanding, there is no distinction between symbols. "Shen Tao said," Truth is natural, and enlightenment is also a symbol of ghosts. The truth makes no difference. Is it easy to understand? Therefore, I realize that it is not easy for Zhan Ran to take photos, but the fascinating things are not in my ears. "([19][ 19] The" photos "mentioned here all point to the ultimate and overall" reality "rather than the decomposable and isolated local knowledge or impression. Yan Yu, a poet in the Song Dynasty, said, "There is no trace to be found. So its beauty is thorough and exquisite, and it is impossible to pool together. Such as the voice in the air, the color in the phase, the moon in the water, the image in the mirror, endless words. "Although it is about the aesthetic realm of poetry, it can also be understood as the overall meaning perceived from a subjective perspective.
The perception brought by aesthetic photos is very rich and unified, which transforms the object image to some extent with the aesthetic emotion and interest of the subject. A Qing scholar Zheng Xie talked about the aesthetic photos of bamboo, which is the most telling. He said: "In autumn, watching bamboo in the pavilion, smoke, sun shadows and dew are floating among the sparse branches and dense leaves. The chest is full of vitality, so it is picturesque. In fact, the bamboo in the chest is not the bamboo in the eye. Therefore, grinding ink and spreading paper, writing in disguise, the bamboo in the hand is not the bamboo in the chest. " [20][20] Banqiao's so-called "bamboo in the chest" can be regarded as the aesthetic perception of the subject. It is full of vitality, vitality and richness, including the aesthetic enjoyment obtained by the subject in observation. Wang Fuzhi's Observation on Poetics said: "God and reason flow in two rooms, and heaven and earth provide an eye for them, which is boundless. Before writing, craftsmen will start, and the unknowable will remain. " [2 1][2 1] is equivalent to the "true meaning" of aesthetic photos. Geiger, a famous phenomenological aesthete, said when talking about aesthetic enjoyment: "The characteristic of aesthetic enjoyment lies in its intuitive richness to the object." [22][22] It is especially helpful to explain the richness of perception in aesthetic photos.
Phenomenological aesthetics attaches great importance to the position of sensibility in essential intuition. This laid a solid foundation for Husserl's transcendental phenomenology. Husserl discussed the filling of perceptual representation in his phenomenological classic "Logical Research". He said: "the filling of representation is the sum of the rules subordinate to itself." With the help of these regulations, it turns its object into reality by analogy, or takes it as its own given thing to grasp. -the clearer the appearance, the stronger the vitality and the higher the pictographic stage; The richer this performance is. Therefore, the ideal of perfection can be realized in the appearance that the object and its phenomenological content are intact. If we count those individualized regulations as the perfection of the object, then it will never be imagination, but only perception. " [23][23] Husserl here actually refers to the perceptual representation obtained through essential intuition. Their "fullness" is not fragmented, but holistic, vital and "fresh". Herbert Spiegel, a famous historian of phenomenology, pointed out that one of the characteristics of Husserl's phenomenology is "the unity of intention" when discussing the characteristics of "intentionality" in his masterpiece Phenomenological Movement. He said: "The next step of the objectification function of intention is that it enables us to attribute all kinds of continuous materials to the same connection or' pole' of meaning. Without this unified function, there is only perceptual flow, which is similar, but not the same. Intention provides a comprehensive function, with which all aspects, representations and levels of an object are concentrated and integrated on the same core. " ([24][24] Spielberg also concluded: "Intention is such a feature of any kind of activity, which not only makes the activity point to the object, but also (a) explains the given materials in a perfect way to present our consciousness, (b) establishes the identity of some intentional activities, (c) connects the different stages of intuitive enrichment intention, and (d) constitutes. (Ibid., page 158) Although the summary here may not completely conform to the perceptual characteristics in aesthetic photos, it is still enlightening in terms of its completeness. Maurice merleau-ponty and Mikel Dufrenne, famous phenomenological aestheticians, regard perceptual research as the cornerstone of their phenomenology. The former is famous for the phenomenology of perception, and he thinks that perception is the core research object of phenomenology. The explanation of consciousness and perception eventually leads to a transcendental aesthetic problem. In his view, only what is felt through perception can be experienced, and only what is perceived can be grasped. If man transcends perception and experience, then he is divorced from truth and understanding of truth. Only people's perception can give people's souls brilliance. Melo-Ponty emphasized the comprehensiveness of perception, and he told us such a profound sentence: "Perception opened a world for me". [25][25] Mikel Dufrenne's phenomenological aesthetics is famous for its incisive exposition of aesthetic feeling. Mikel Dufrenne believes that the special difference between the subject and the object contained in the concept of intentionality can be explained most clearly by analyzing perception. In his masterpiece Phenomenology of Aesthetic Experience, Mikel Dufrenne takes aesthetic perception as the main research goal. He believes that "the aesthetic object is completed in perception." [26][26] In Mikel Dufrenne's phenomenological aesthetic research, psychological functions such as feeling and imagination are subordinate to perception in aesthetic activities. Du also attaches great importance to emotion, meaning and depth in aesthetic feeling, which is quite instructive for us to understand aesthetic photos. Du Fu made a clear statement on this issue in his other masterpiece Aesthetics and Philosophy: "When perception deepens into emotion, perception gains a meaning of aesthetic object. We once advocated this kind of meaning as expression, that is, the connotation of semantics. The characteristic of this meaning is that it is read directly from the object, not added to perception, not its extension or annotation, but felt in the center of perception. Therefore, both the subject and the object are deeply involved in this experience. " [27][27] Another American philosopher, V.C. aldridge, also expounded the integrity of aesthetic feeling from the perspective of phenomenology. He said: "We don't rule out this or that factor, but emphasize the integrity of aesthetic feeling. This perception is more reasonable than the usual perception for experiencing the integrity of the whole. The combination of elements replaces the separation of elements. According to this aesthetic perception, the function of this perception is to reveal the potential organic unity of experience, or to create this integrity through the wise arrangement of sensory experience, so as to save experience from its usual fragmented and poor structure. " [28][28] In the process of aesthetic photography, perception plays such an important role. The meaning, depth and emotion of the aesthetic object are full of this perceptual direct presentation.
For the observed aesthetic object, everything outside is "suspended". "Suspension" is also the basic method of phenomenology, and Husserl also calls it "encirclement", which is a fundamental position taken by phenomenological philosophy on the empirical fact world. In fact, the patent of this method should not only belong to phenomenology as a school of contemporary western philosophy, but also exist in China's philosophy for a long time. Zhuangzi said that "regardless of ambition, it is condensed in God", and he turned a blind eye to other things except the object of observation, instead of "hanging on". Because of its "suspension" to other things, the object observed by the subject is "uncovered" and revealed, and it is exposed in the subject's field of vision with the glory of freedom. There is a concept of "representation" in phenomenology, which is just suitable for the presentation of this aesthetic object in aesthetic photos. Klaus Held, a famous German phenomenologist, said: "Ers Xie Ning means to appear from a dull background." [29][29] (This is what Heidegger called "the state of clarity". Van Gogh's peasant shoes and Heidegger's poetic depiction of Greek temples are actually "revealed" in aesthetic photos. In Heidegger's words, "it opened a world" (the origin of works of art), which is also a "clear realm". Heidegger expressed this realm in more poetic language: "This clarity is also pleasure, and under its function, everything is free to wander. Clarity keeps everything calm and complete. -It's sacred. For poets, the highest and the sacred are the same thing, that is, clarity. As the source of all kinds of music, clarity is bliss. Through pleasant clarity, he illuminates people's spirits and makes their nature open to those who are real in their fields, cities and houses. " ([3 1][3 1]) The vision of a beautiful photo is so bright, free, poetic, profound and meaningful. It is the manifestation of sensibility and the light of noumenon. "This makes sense, but I forgot what I wanted to say." "I can't get tired of seeing both of them, only Jingting Mountain", which is close to the situation of aestheticism!
August 6, 2003, in the hot summer, was written in Beijing.