The complete works of quotations from Jiang Xun's classic works

All the quotations in Jiang Xun's works are classics. Do you want to enjoy them together? The following is a complete collection of quotations from Jiang Xun's classic works carefully compiled by me for you. I hope you like it.

Quotations from Jiang Xun's classic works

1) Civilization is neither arrogance of power nor greed of wealth. -Jiang Xun's affectionate Ying Xiao Wo

2) When we want to pursue a mainstream clue of historical development, we often have to do some work to remove minor details and sort out a trunk from the clutter. An introduction of "development" or "history" can not avoid emphasizing the characteristics of each dynasty, because the so-called "development" and "history" are the transition from one dynasty to another, and an organic life is hidden under the layers of cultural relics and historical materials. We regard "history" as an organic life precisely because every segment of it is growing and developing. It is not just a pile of lifeless data, but stripping these data and making this ontology glow again. -Jiang Xun's meditation on beauty

3) Knowing ourselves and knowing ourselves is actually a great wisdom, because we will cheat in life and even create a fake self, and even feel that this fake self is the real self more and more. -Jiang Xun's "Jiang Xun said Song Ci"

4) Most of the regular script in the Tang Dynasty is closely related to political history, or has a special commemorative significance. Famous posts in the Song Dynasty are more manuscripts and poetry notes that people are interested in in their personal lives, which are closer to the calligraphy of scholars in the Eastern Jin Dynasty. Calligraphy returns to its natural and innocent expression, far from politics and history, and has no great ambition, just to come back and be true to yourself. -the beauty of Jiang Xun's Chinese calligraphy

5) Most porcelains in the Song Dynasty also pursued monochrome. Ding kiln's pure white, Ru kiln's rain turns blue, Jianyang kiln's dark gold no longer shows off the variegated colors, but returns to a more restrained, implicit and simple color essence. Calligraphy is the most concentrated embodiment of aesthetics in an era. Calligraphy aesthetics in Song Dynasty is also like ink landscape, which pursues simplicity, longs to be liberated from the greatness of the times, longs for the completion of individual self and the expression of personality, does not exaggerate grandeur, and prefers to come back and be an ordinary and simple self. -the beauty of Jiang Xun's Chinese calligraphy

6) Both of us have Lin Daiyu and Xue Baochai, and there will always be contradictions between the two personalities. Lin Daiyu died with uncompromising persistence, and Xue Baochai should know how to compromise with the world and survive. We have my persistence inside, and we can get along with others outside and balance the two. This is great wisdom. -Jiang Xun's "Jiang Xun's detailed explanation of a dream of red mansions"

7) Some memories are not so specific, like a smell. I can close my eyes and rest assured that my mother is so close to me that I am surrounded by an unspeakable smell, which is the smell of my mother. -Jiang Xun's letter to young artists

8) Loneliness is different from loneliness. Loneliness will panic, but loneliness is full. It is Zhuangzi's "being alone and connecting with heaven and earth" that confirms the dialogue between life and the universe and reaches the most perfect state. -Jiang Xun's six speeches on loneliness

9) In this world, if there is someone you care about, do something for him and give him some warmth. When he is sad, let him lean on your shoulder, which is definitely the most important source of happiness. Jiang Xun

10) cold and fever alternate, and the body goes through the process of injury and healing, cold and heat, pain and relaxation, destruction and formation. He stared at his own pain soberly, as if it was also the only salvation for the body in the chaotic desire. -Jiang Xun "Because of Loneliness"

The path he walked was covered with tung trees. Every time he looked back, he felt that the petals flying all over the sky were still in the air, and none of them fell to the ground. He looked back over and over again, as if he were reciting the same sentence with his children in Chinese class. "It was the fog that slowed down the falling of flowers." -Jiang Xun's young Taiwan Province province.

12) facing regret calmly may be a very important moment when beauty happens. -Jiang Xun's beauty and intangible competitiveness.

13) Ming, I stopped in front of faith for a long time. I look at this door. When should I go in? How do I get in? Will I meet you at the faith center? I will quietly go around the cloister and look for you in every dark corner. -the beauty of Angkor in Jiang Xun.

14) These figures in the Wei and Jin Dynasties just remind us how much we compromised with the world from the simple life of adolescence to adulthood. I often ask myself how much I have compromised. I think the world wants you to do this, so show them. But every time I do it, I actually give up some of the most essential things in human nature. Because it is killing, it will become a manifestation, and it will become a part of yourself. I can't help feeling that as long as there is form, the real essence doesn't seem to matter. -Jiang Xun's beauty and intangible competitiveness.

15) Only when you have a full grasp of death will the meaning of life be complete. Before that, we were just a tired traveler wandering the streets. -Jiang Xun's "Forgotten Words"

16) Memory is neither good nor bad. The best memories and the worst memories will run out of the body again and again because they can't be forgotten. -Jiang Xun's young Taiwan Province province.

17) Ji Kang said that not everyone is worth listening to Guangling San. If you can't live a sense of loneliness, if you can't be independent, art and beauty have no meaning, just arty. Every time I read Xiang Xiu's Homesickness Fu, I will always be moved by it, and my life will leave alone, but it will be crushed under the rigid dogma of group culture. -Jiang Xun's six speeches on loneliness

18) There is fulfillment in loneliness. Jiang Xun

19) Sometimes in retrospect, it seems like a long trip, just this constant and accidental gathering and parting. Sometimes one or two people's smiles will appear so casually, just because he used to be a colleague who gradually forgot the years. -Jiang Xun's irrelevant years.

20) Next autumn, we have an appointment to go for a walk in the deep mountains. Let yourself be in a daze in front of Hongshan, let yourself resign from poverty, let yourself not draw a stroke, let yourself be depressed, and let yourself understand that what we see is actually not the change of color and light. We saw Qian Qian's death in the blink of an eye, and we heard the cry of coming back and leaving every time since the flood. -Jiang Xun's "All sentient beings at this time"

Sentence quotations from Jiang Xun's classic works

1) I don't know if you will think that the mood near the water and the mountain is really different. Water is softer, gentler, more obedient, calmer and more thinking. Mountains are relatively stable, dignified and atmospheric things. These two things bring out two different aesthetic experiences, especially after the Southern Song Dynasty. Because Hangzhou is its capital, it is called Lin 'an, so its water experience is more obvious. -Jiang Xun's "Jiang Xun said Song Ci"

2) People live numbly in taboos, which is not much different from death. -Jiang Xun's Unlocking the Da Vinci Code

We live in a city and a town. Because we respect the past history and traditions, future generations will also respect what we left behind. The aesthetics of life is a kind of respect, and the aesthetics of life is a kind of respect for the old order. -Jiang Xun's Four Lectures on Taste

4) "Give one's life to save pigeons" and "Give one's life to feed tigers". The murals in the Northern Dynasties describe the pain, fear and lofty life modality. People are no longer just discussed in the human world, but in the "biological" and "animal" worlds. The life of compassion here is no longer the life of Confucianism in the Han Dynasty, but the "sentient beings" who treat tigers, eagles, pigeons and deer equally. The Confucian world of human relations has been expanded, and people are re-examined in all life. The freedom and opening up of Laozi and Zhuangzi has been hindered, and life is no longer affirmation and joy, but is accompanied by endless disasters and pains. These colorful murals point to the existence of life in the most tragic way, which makes people feel the emptiness and disillusionment of life in great sadness and pain. -Jiang Xun's meditation on beauty

5) Therefore, we can understand why the leading figures in the Song Dynasty were all scholars from the Imperial Examination, such as Fan Zhongyan, Han Qi and Su Dongpo, who were once leading in Shaanxi. In the form of literati leading, there will be different attitudes and ways to treat the whole war. They will not use force to persuade others, but will adopt the way of avoiding war as much as possible. Compared with the mentality of initiating war, the mentality of avoiding war will form a very different political trend, so we can clearly see here why the founding of the Song Dynasty produced a very special cultural style, which is actually related to many of its political systems. -Jiang Xun's "Jiang Xun said Song Ci"

6) A person who loves poetry loves life. If a person can tell the answer to life in one or two sentences, it is harmful to others. Life is so rich and complicated that in the end, it is not necessarily clear whether you are sad or happy. -Jiang Xun's Jiang Xun Literature: From The Book of Songs to Tao Yuanming.

7) Every kind of beauty in life aesthetics has its ecology and background. Sometimes people will make a fuss about what they don't understand after changing the environment, but they will be surprised when they are really well informed. We should respect the life aesthetics developed by every nation. -Jiang Xun's Four Lectures on Taste

8) Between people, one is life and death, and the other is death. There is no third ending. Jiang Xun

9) Wentong has a piece of "Ink Bamboo" in the National Palace Museum in Taipei and the National Palace Museum in Beijing. "Mozhu" became a painting theme in the Northern Song Dynasty, and it was obviously painted with the brush strokes of calligraphy. The orchid bamboo in literati paintings flourished in the Song and Yuan Dynasties and evolved into "Mei Lan Zhu Ju" and "Four Gentlemen", which actually declared that the basic skills of painters must be based on the skill of calligraphy. Drawing ink bamboo bluegrass is actually the same as writing with a pen. -the beauty of Jiang Xun's Chinese calligraphy

10) I just mentioned that the two deepest sorrows of human beings are that they can't find time and space, that is, the infinity of time and space. Due to the background of Neo-Confucianism in Song Dynasty, all scholars are faced with the problems of time and space. "Sunset" is the sadness of time, and "the ruthlessness of grass" is the infinity of space. So he personified the sunset and grass with ruthlessness. -Jiang Xun's "Jiang Xun said Song Ci"

1 1) We will find that there are still people in the pictures of the Tang Dynasty, but the pictures of the Song Dynasty disappeared after five generations, which is a bit like Ouyang Xiu's feeling that "Spring Mountain is near Pingwu, and there are many laymen in Spring Mountain". So you can't see the people in the paintings after the Song Dynasty, because people are far away. "People return to Lin Ping after the crescent moon" is the scenery that people see after they leave. In the Tang dynasty, you didn't have a chance to see the scenery without people, or you didn't look at it from the perspective of people. The scenery from human's point of view is conquered. The scenery that can't be seen from human's point of view is the "complacency of everything" put forward by the Song Dynasty, which allows you to see the essence of the universe with the experience of a flower or a snowflake and make yourself a part of nature. -Jiang Xun's "Jiang Xun said Song Ci"

12) We are all trying to understand the mystery of life through various ways to interpret poetry, whether it is astrology or palm reading, but we can't fully grasp the mystery. Poetry itself is between solvable and unsolvable. When it is solvable, it is because you have projected your life into it. It is insoluble, because it may be stubborn, because you are always unwilling to interpret the essential phenomenon of life. -Jiang Xun's "Jiang Xun said Song Ci"

13) This infinite unfinished blank seems to be the creator's invitation to the future. This blank allows poems to appear and seals to appear. It makes space and time, between reality and abstraction, have a confusing effect. -Jiang Xun's meditation on beauty

14) sublated the totem of animals. China people did not give up the concept of tribal existence, but only made it more idealistic and realistic. In the most ordinary life, it affirms the people in this world. I have no fear of nature and no yearning for God. I am from China, who works at sunrise and rests at sunset. What's good for me to dig a well and drink the land? " This optimistic, simple and secular aesthetic sprouted in the Spring and Autumn Period and was embodied in the earliest people-oriented art. After the agitation of various local colors around the Warring States Period, it swayed in the extremes of rationality and sensibility, discipline and romance, and in the Han Dynasty, it completed a typical vulgar culture. Different from Egyptian, Greek and Indian, it is secular and simple, common and extensive, and it has become the most important cultural symbol foundation after China. -Jiang Xun's meditation on beauty

15) the charm of procrastination lies in that all rationality has been analyzed and conclusions have been drawn, but it may be completely destroyed the next day. If there is no "worry" in life, what's the point? Different ages are addicted to different things. Rationality is a person's way of thinking, and so is irrationality. Irrationality has a greater impact on life and is also a major force in the composition of life. This irrational energy develops partly to philosophy and partly to literature. If it is literature, it is definitely not a logic, but an emotion. -Jiang Xun's Jiang Xun Literature: From The Book of Songs to Tao Yuanming.

16) "the heart is long and the flame is short" is a state of life. Not a candle, but a great passion that burns to the end, that is, there are still so many inner passions, but there is so little possibility that matter can provide you with burning. -Jiang Xun's "Jiang Xun said Song Ci"

17) The first figure in the "Three Masterpieces of Poetry, Calligraphy and Painting" should be Zhao Mengfu. Zhao Mengfu specifically said: The brush strokes of "flying white" in calligraphy are used to draw strange stones, and the brush strokes of ancient seal characters are used to draw dead wood. To draw ink bamboo, you need to know the "eight methods of writing forever" Zhao Mengfu redefined the brand-new understanding of the ancient idiom "Calligraphy and painting are of the same origin", and also clearly revealed the spiritual essence of the new literati aesthetics dominated by calligraphy. -the beauty of Jiang Xun's Chinese calligraphy

18) "Emotion moving in the middle" is the most important content in all arts. -Jiang Xun's Jiang Xun Literature: From The Book of Songs to Tao Yuanming.

19) some of the best qualities left over from traditional experience in human civilization should not be completely lost because of rapid industrial production. -Jiang Xun's Four Lectures on Taste

20) Generally speaking, the four great calligraphers in Song Dynasty-Su, Huang, Mi and Cai-have four distinct personal styles. Tang Kai emphasized that the times transcended individuality, but in the Song Dynasty, on the contrary, the completion of personal calligraphy style surpassed the requirements of the times. -the beauty of Jiang Xun's Chinese calligraphy

Quotations from Jiang Xun's classic works

1) I'm afraid of my change. I'm afraid I won't read, think, do physical exercise and spiritual practice. I've lost the ability to reflect and check my behavior. Staring at myself in the mirror, I can see my body aging day by day, but I can still examine the appraisal character and belief, just as my love for you is as clear as water. So, I'm not afraid of losing you. I'm afraid that our love will become a habit like many people, losing the meaning of * * * and creation, becoming a form, and losing the joy of truly enriching life-Jiang Xun's The Book of Love.

2) In the aesthetics of life, what we always want to emphasize is: What is beauty? It is beauty to have your own unique taste. A person who puts what others have done on himself without thinking is definitely not a creative person. If it is inappropriate, it is still not creative and aesthetic. We know that all the good things are created by ourselves, so we will say that this person is great. He really has good taste in clothes and has his own uniqueness. We should not only know our own body, but also our own personality, so clothing can best reflect the whole process from physiology to psychology. -Jiang Xun's Four Lectures on Taste

3) The open-mindedness and calmness of life probably comes from not having to insist on one or the other. Being able to swim in the changes of life and patiently look at the significance that we haven't discovered in a certain period of time. Gathering and scattering is a change, flowers bloom and flowers fall, and the full moon is a change, but when we don't know the true meaning of change for a certain period of time, we will be depressed, sad and even desperate. But if you know this is a natural process, why are you sentimental? Then at this time, you will look at these things with an open mind. -Jiang Xun's "Jiang Xun said Song Ci"

4) Explain that only two characters are used to complete two life patterns. Most of us are addicted to the beauty of youth and the wisdom of old age, waiting for the day when the prosperity is gone and we should be able to look directly at the beauty and gray hair of young people and laugh loudly in sadness. -Jiang Xun's "Forgotten Words"

5) Beauty is a choice, even a kind of abandonment, not greed. When many things are in front of you, you should have an education and know which ones you should choose. -Jiang Xun's "There is Great Beauty in Heaven and Earth"

6) Beauty is not possession, perhaps on the contrary, it is often the realization that beauty cannot be possessed. Of course, cheap purchase and overbearing possession are the greatest harm to beauty. -Jiang Xun's "Removing Monet"

7) I think this is really the voice of the Tang Dynasty, which is prosperous, but there is no grandiose pride; This is "before me, where did the lost era go?" Behind me, are the future generations? " -Jiang Xun forgot his words.

8) The so-called providence is probably the irreversibility of human resources. Jiang Xun

9) Because pleasure is a kind of sensory stimulation, it can be refreshing in an instant, but later it often produces a feeling of loneliness and emptiness, and that emptiness will become an irreparable black hole. The true desolation of the mind comes from too much happiness. -Jiang Xun's "There is Great Beauty in Heaven and Earth"

10) When human nature is as open as water, you will see the most beautiful things, but when one has a plan, everything will disappear. This mystery is actually lost. Sometimes when I look back on my life, I feel that the so-called loss is all because of persistence. Once you want something deliberately, you can't get it back. -Jiang Xun's Jiang Xun Literature: From The Book of Songs to Tao Yuanming.

1 1) I believe that things will never become really beautiful. Things become beautiful because people give them a lot of emotions, that is, the dishes you really cook with your heart, the shirts you wash with your heart, and the love you give, which makes things beautiful. -Jiang Xun's "There is Great Beauty in Heaven and Earth"

12) Therefore, Zuiwengting Ji created a very important style of writing for the literature of the Song Dynasty with its naivety. Of course, this naivety has its background. I think you must remember that there was 128 years of peace in the Song Dynasty after the alliance of one source. Therefore, scholars will find it less necessary to talk about politics, war and military affairs. They will be more calm, less depressed, and will not feel that they must talk about "worrying about the world first" when they pick up a pen. Fan Zhongyan is still talking about this, and Ouyang Xiu thinks why he is so tired. "Worrying about the world first" must be that intellectuals feel that the world will be finished without you when they are worried about the country and the people. Ouyang Xiu thinks the people are doing well. At this time, when he wrote the preface to the drunken pavilion, he wrote a very relaxed thing. -Jiang Xun's "Jiang Xun said Song Ci"

13) so I always hope that in the aesthetics of life, the beauty we want to emphasize is not only the opportunity to catch up with art in a hurry, but the space to calm down and reflect on our feelings. Your eyes, your ears, your vision, your hearing, you can hear beautiful things, you can see beautiful things, and even you can taste the beautiful taste when cooking a dish. This is the aesthetics of life. I will re-examine the role of beauty in real life from such a benchmark. -Jiang Xun's Four Lectures on Taste

14) "famous brand" spread from one rumor to another, and everyone rushed to buy it. In the end, it often covers up the true core value of "famous brand". -Jiang Xun's Unlocking the Da Vinci Code

15) Bing Xu's subversion of Chinese characters was vividly demonstrated in his work Analysis of the World (also known as the gobbledygook) in the 1980s. Xu carved more than 4,000 understandable Chinese characters, and printed all the new words he created on a large continuous rice paper, which covered the ceiling and four walls. There is also a set of four-volume traditional thread-bound books, which is the Song version. The Book of Heaven was first exhibited in China Art Museum on 1998. 1960, Bing Xu created "square English calligraphy". He transformed English letters into radicals similar to China Chinese characters, then synthesized English words into square characters similar to China, and wrote regular script with a brush. Contrary to the seemingly readable gobbledygook, the English words in the box are actually usable words. For people who know English, reading and writing in English in the square is extremely fun. -the beauty of Jiang Xun's Chinese calligraphy

16) things that exist in the universe often become non-existent because we can't see them; But what doesn't seem to exist will become existence as long as you are interested. -Jiang Xun-Jiang Xun's "Jiang Xun said Tang Poetry"

17) Life is a long experience. Those who can feel the flowers blooming in spring will inevitably see the sadness of flowers dying at some point. -Jiang Xun's "Jiang Xun said Song Ci"

18) Don't forget that there is a word in Chinese characters that should be reflected very, very much, and that is the word "busy". If you are too busy, your mind will surely die. -Jiang Xun's Four Lectures on Taste

19) probably around the temple, which has become the center of life; I believe it is because of tradition, history and the center of faith. I always feel that with faith and a sense of history, even eating will taste different. -Jiang Xun's Four Lectures on Taste

20) During the Spring and Autumn Period and the Warring States Period, the animal images in Shang and Zhou Dynasties were simplified into various hook shapes dominated by curves and straight lines, which formed a visual symphony in the alternation of balanced and rhythmic lines and points. These lines seem to be broken and connected, but if they are broken, they will be like fighting dragons and snakes, and they will be twisted and twisted to form a vivid and warm beauty of the Warring States. During the Warring States Period, Qin Chu's craft style was completely opposite. Generally speaking, Chu's craft modeling tends to be abstract, and the lines are deliberately exaggerated, resulting in a flying and light effect. Lacquer painting is dominated by black and red, which forms a strong contrast. Red moire is often used on black background, which has a strong sense of flow and speed. The Qin Dynasty established their craft style on the basis of absolute strict realism. -Jiang Xun's meditation on beauty

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