The highest expression of “art”

　　From the stone chopping tools left over from the Stone Age, we can imagine that the first time humans moved stones was to feed themselves. This way of living with stones may have been accompanied by the development of human history. The stones break open the shells of nuts, scrape off the meat on the bones with sharp stone blades, hit each other with stones, and drill holes in the crane leg bones with stone tools, blowing out the tones that sound like complaints, And then to knead the xun with clay, burn it into pottery, and blow out the sound of wildness… This is definitely not just for people’s self-entertainment. Human beings are almost born with the need to find their psychological scale—the idol, which is the most effective “stimulant” for human beings to overcome their inner fragility and strengthen their spirit. Under the influence of powerful spiritual power, its actions are often beyond reality.
　　We don’t know what kind of experience human beings have had. Modern researchers often focus on how prehistoric ancestors accomplished work beyond the times. A jade man unearthed in the Lingjiatan Neolithic site 5,500 years ago in China has a pair of small holes drilled on the flat back. It’s punched out, and it’s thinner than a hair. This is the earliest micro-tube drilling technology discovered so far. Even at today’s technological level, we can only use lasers to complete it. This is indeed a technical issue.
　　Modern experts have tried their best to copy this point, but they can only get a general charm, just like a bad painter copying a classic painting. Because the depth of understanding of a kind of knowledge is different, we can only guess a general direction, which cannot be achieved by the length of time required or the degree of technical proficiency. It is difficult to say that we have obtained the result of the technology of the ancient ancestors. If the ability of the mind is ignored, it is also difficult to say that we truly understand the essence of that past culture. There is a good metaphor here. Researchers of contemporary art history have confirmed that the Dutch painter Rembrandt in the 17th century only used ordinary cooked oil to paint, and he painted a painting effect that has puzzled generations of painters. People are puzzled, what gave him such a wonderful? This is like the phenomenon of megalithic culture of our ancient ancestors.
　　If people look at the Sphinx statue with a head-up view, there is a gap between the ratio of the human head to the body and the ratio of the lion’s head to the body. The human-shaped head is larger. Is there such an adjustment? In addition, the ratio between the lion’s body and the lion’s claws is not coordinated. The head is shaped slightly larger, and the claws are even bigger. These questions one after another come from an aesthetic point of view. When appreciating this huge statue, the viewer must stand at a certain distance to get the best appreciation effect. Huge claws can increase its tall and powerful image, which is enough to show that the lion is mighty and invincible. The head is larger than that of a lion, because at a height of nearly 20 meters, if it is made according to the proportion of a real lion’s body, its face will appear slightly smaller, and it will be very uncomfortable when viewed from the upward angle. harmonious. According to a certain aesthetic standard, the image is not decent. All this really comes from the aesthetic experience of craftsmen more than 4,000 years ago? When the great Italian Renaissance sculptor Michelangelo created the statue of “David” 500 years ago, he considered the viewer’s appreciation angle, so he made the proportion of David’s head and body a little out of balance. , the head is slightly larger, but it makes people feel very comfortable visually when looking up at the statue. It seems that he can only be a junior in front of the aesthetic concept of the ancient Egyptians, and the amazing things are far more than that.
　　The same memory, after being copied, is often irrelevant. In many cases, the ancient ancestors did not use data as the standard. standards in the process. The only explanation for this is that imagination gives impetus to creation, which can be a result that will surprise posterity, and that is the way subjective feelings and self-identifications are identified.
　　The culture of the Stone Age made people see the great power of the soul, and everyone was guided by witchcraft, completing the first outbreak of human wisdom. The painter Rembrandt conquered the admirers of his works with magical effects. Many years later, it is difficult for modern science to explain all the “wisdom” in prehistoric cultures, and we still believe that science cannot explain art.
　　Intuitive perception from the heart can make the most powerful release of human nature.
　　From the megalithic buildings built by the prehistoric ancestors, we can also get a glimpse of the common psychological feelings of people at that time. They fell into a kind of addiction because of their inner fragility, and this psychological mechanism directly led to the flood of religious feelings. Its description of the Utopia makes believers who yearn for him more delicate and focused when observing nature, which also leads to the emergence of scientific aura in the age of ignorance. This ghostly “scientific aura” really has a lot of psychedelic color for our scientific age today! However, the perception of art directly leads to the application of aesthetic principles. Many factors in this aspect are worthy of our careful study.
　　People in the prehistoric era always felt lonely and helpless in the face of wild nature. It was difficult for them to find the fulcrum of life. At that time, there were no Sakyamuni, Confucius and Christ to guide their inner direction, but they had their own The gods of nature come to protect their reproduction and harvest. The boulder is perhaps the most typical way of displaying their spiritual powers. From the perspective of historical development and evolution, the use of huge stones to build temples to place spiritual yearning has been preserved in all ages of human civilization. So far, religious holy places and megaliths have a very close relationship. However, prehistoric megalithic culture should be the highest form of human beings using megaliths to embody the soul. Through the construction of megaliths, it shows the power of religion, and then reflects the spiritual process of human nature from fragility to strength. Without too much interpretation and theory, there will be a profound intuitive experience, which is the thinking of art, a symbol of the great truth in the age of ignorance.
　　When the history of art turned to the age of human science, we found that the thinking of art was stripped away from the huge structure of human spirit—religion at a rapid speed. This is a kind of cognitive rebellion, which is completely different from the prehistoric ancestors. This group of deviant people no longer need to standardize morality and cohere social axioms in the name of gods. They emphasize more on interpreting human nature in their own way, contrary to the pretense or pretentiousness that is unique to the history of civilization that has been recorded for thousands of years. Function.
　　Straightforward, naked, and more direct and keen observations, and a deep insight into the fragility and strength of human nature, and the depression and loneliness of the spirit, this is the mainstream culture that emerged in the world after the so-called Renaissance wave was set off in Italy 500 years ago. direct result. The rise of the modern art movement, although only a short century, has shattered many dazzling brilliant shells created by human civilization! But in terms of the feature of “directly expressing the soul”, the architectural art of the Megalithic period is completely connected with the spiritual connotation of modern art. Can this be said to be the highest expression form of art?