B. Vivid: Discovering Art in Wandering - Wu Hung - Douban 8.4

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"Vivid" is a term used in both Eastern and Western art criticism. In the "Record of Ancient Paintings" by Xie He of the Southern Qi Dynasty in China, "rhythmic vitality and vividness" was ranked first among the "Six Laws" of painting, and this standard became the highest standard for measuring art in later generations. How can a work of art be considered "vivid"? What efforts have artists made for "vividness"? In the book "Vivid," Mr. Wu Hung interprets it from three levels: "movement," "atmosphere," and "emotional movement."
The first part, "Movement," tells about the expression of "movement" in ancient and modern art at home and abroad. Following Mr. Wu Hung's eyes, we will learn to read classic works from the perspective of "movement," paying attention to the beautiful ribbons in "The Goddess of the Luo River" and "Admonitions of the Instructress to the Ladies," and re-examining the flying art in the murals of the Mogao Grottoes and the Maijishan Grottoes.
The second part, "Atmosphere," focuses on the theme often ignored by iconographic research—wind, discussing the range from the wind god relief of ancient Greece to the "Wind Earl" in the Han Dynasty stone carvings, and then to the wind that runs through the painting in the Western art masterpiece "The Birth of Venus," as well as the invisible "yin wind" and "ghostly aura."
The third part, "Emotional Movement," interprets the subtle emotional movement within through the dynamic language of the body. Emotions constitute the psychological depth of art works, and grief over death is undoubtedly the most intense. Mr. Wu Hung combines funeral images from ancient Egyptian, Greek, and Roman art, as well as Buddhist Nirvana images, Chinese tomb murals, etc., to trace a trajectory of "emotional movement."
Following Mr. Wu Hung's perspective, we will move from one art form to another, from one level to another, and discover the infinite connections between art works that transcend culture and history.