空空如也 | 一人，一屋，一境界
Je fine art Gallery’s art world
其实对于“自然美”的追求早在周秦时代就已产生。所谓“智者乐水，仁者乐山”，古人早已习惯将自然之物比作人类情感和道德的象征。在孔子眼里“君子以玉比德”，在荀子笔下“夫玉者……温润而泽”。人与自然的关系远比我们想象的要近。而作为审美形态的一个分支，人往往需要通过自然才能找寻到自己在这个世界的位置。
于是乎，如何安身立命便成了最大的问题。朱光潜曾形容弘一法师：“用出世之精神，做入世之事业”。经年后，这句话又被后辈钱念孙重新冠给了他。而“出世之精神”便也是当下世人最渴求的东西。南有郭子秦隐机而坐，忘了本我。亦有梓庆削木为锯，以为心斋。这种天地同流，物我同一的状态在当下需要一种仪式性的代入感。
This time Je Art Space exhibits nothing but one vessel, one painting, one book, one chair, one table and in one room.
Emptiness has been an important concept in Chinese philosophy which is not only manifest in Chinese literature but also in art and religion.
Ancient Chinese philosophers devoted themselves to finding the essence of humanity and in doing so, life. Laozi said in his text Laws Divine and Human (Daodejing): “Man imitates earth, earth imitates heaven, heaven follows the divine law and the divine law follows nature”. In Thus Spoke the Master (Lunyu), Confucius said, “The wise delight in water while the good delight in mountains” and Xunzi concluded “[The] ancient superior men found the likeness of all excellent qualities in jade, soft, smooth and glossy, it appeared to them [to be] like benevolence”. Interestingly, these responses are all rooted in nature.
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