玄之又玄    Esoteric Art Program  
取自道德经的玄之又玄,众妙之门,道的深奥也是宇宙万物的奥秘。虚无又是实有,在我看我,看画或是人与人、人与物的链接,知觉因人而障,物我两忘,无形无象,绝对存在的体现,意象勾连的通感又具象延伸,所追求的就是意象当中的一丝神凝想象。通过探索“无”,探索的过程中也是共鸣自己,道的虚无和实有,精微性体现在它既是生成万物的本体,又体现了万物无穷奥妙的变化,天地的初始状态是无名,难以言表的,而这种难以言表的初始状态就是玄妙难懂的,多层次的画面就好似一个又一个供给探寻的“门”。“玄”亦如此.就是随着事物的发展,从无到有而产生的蜕化,无为而治。
‘Xuan’(mysterious) yet profoundDerived from the ‘The Scripture of Ethics’, it is the mystical and mysterious gate of all wonders, and the profoundness of the Ethics is also the mystery of all things in the universe. Nothingness is also reality. When I look at myself, enjoy paintings, or the connection between people and things, my perception is hindered by human, and all things are endowed with natural and mysterious colors in the chaste artistic space. It is an intangible manifestation of absolute existence. The synesthesia of image connection is also a concrete extension, pursuing a trace of divine imagination within the image.Through the exploration of "nothingness", the process of exploration also resonates with oneself. The nothingness and reality of the Ethics are ireflected in its subtlety, which not only generates the ontology of all things, but also reflects the infinite and mysterious changes of all things. The initial state of heaven and earth is nameless and difficult to express, and this indescribable initial state is mysterious and difficult to understand. The multi-level painting is like one gate after another that provides for exploration. "Xuan" is also the same. It is a transformation that arises with the development of things, from nothing to something. Governance by doing nothing that goes against nature.
来源: | 作者:KairosHwang | 发布时间 :2025-06-14 | 83 次浏览: | 🔊 Click to read aloud ❚❚ | Share:
Media:Comprehensive media
Size:25cm(diameter)
Music by Ge Ganru

锣作为古时祭祀的乐器,

“墓主宴饮图”遵循其定名只是对画像表象的概括,并没有体现出此类画像特有的丧葬属性。仅依照了藏形和安魂两个目的,即《荀子·礼论》所

言:“故葬埋,敬藏其形也;祭祀,敬事其神也;其铭、诔、系世,敬传其名也。

(Gong) As an ancient instrument that’s used in rituals and ceremonies, 

The source of inspiration "Banquet Scene of the Tomb Owner" merely summarizes the representation, failing to reflect the funerary nature inherent in such depictions. This portrayal adheres to the two purposes of ‘preserving the body and comforting the soul,’ as in Xunzi: Discourse on Ritual: ‘Thus, burial respects the preservation of the body; ceremonies are for the respects service to the spirit; inscriptions and eulogies respect the transmission of the name, fame and wealth.’