Personality psychology, as a branch of psychology, is defined as psychology that studies a person's unique behavior patterns. Personality is generally interpreted as personality, but it is more translated into personality in the field of psychology. Personality includes not only its personality, but also personal views and beliefs. What is personality? The definition of personality in the field of psychology is also controversial. "I define personality as a stable behavior and interpersonal process that happens to individuals." (Personality Psychology, by Jerry M. Berg, translated by Huichang Chen, China Light Industry Press,10,2000) Personality is stable. A person's personality characteristics will be different today and tomorrow. However, recognizing this stability of personality does not mean that people's behavior is unchangeable, and different behaviors will occur in different situations. Interpersonal process is a process between people, and we affect our emotions, behaviors and cognition internally. Everyone has similarities, such as the ability to cope with fear and anxiety. But it is dealing with these differences between anxiety and fear that plays a decisive role in personal character. There is a saying that "there are few differences between people, but differences really work." This sentence almost sums up the views of personality psychologists. It is a wise choice to study the length of multi-identity texts with personality psychology.
Mr. Ma's Tao is a joke-on Xu Wei's artistic spirit takes Xu Wei's personality psychology as the starting point, which breaks the separation of his text world and the simple historical narrative method in previous studies. Starting with Xu Wei's life experience, combined with social background, the most meaningful and influential events in his life are selected as the starting point, combined with self-analysis and comments from others; Through the analysis of typical events, this paper explores the reasons for the formation of their personality psychology. This book is divided into three parts. First of all, the author puts forward his own views on Xu Wei's position in the art history of the Ming Dynasty and its research value in the existing research. As the saying goes, if you want to innovate, you have to stand on the shoulders of your predecessors and overlook it. In this book, Mr. Ma puts Xu Wei in the whole Ming Dynasty and the whole art history, sorts out his life clues and explores his artistic achievements. The article also mentions its innovations, namely "problem innovation", "viewpoint innovation" and "research method innovation". Secondly, it introduces the political, economic and literati thoughts of Zheng De, Jiajing, Qin Long and Wanli in detail. In this period of great social change, the weakening of centralized politics of rulers, the prosperity of commodity economy, the improvement of social status of businessmen and the prevalence of social extravagance. Xu Wei lives in such an era, and his body bears a distinct brand of the times. Finally, it is the focus of this book, that is, to analyze Tao's spiritual construction, artistic spirit and artistic presentation around "Tao is joking"
"Tao is joking" comes from Xu Wei's praise of Dong Fangshuo stealing peaches (Zhonghua Book Company, 1983 edition, p. 582). Xu Wei described it as "bandits and pollution, harmonious shooting angle, doing everything, and Tao is a joke" (ibid.). The original meaning of "banter" in Ci Yuan is "joke", and later it is extended to "humor" and "funny". The "banter" here is not only simple physical and mental pleasure, but also covers rich connotations (mentioned earlier). Xu Wei's "banter" contains such elements. It is said that mutual appreciation and Xu Wei are in the same boat, and they both admire Dong Fangshuo very much. On the one hand, they are all brilliant, but they can't display them, so Xu Wei often uses Dong Fangshuo as a metaphor; On the other hand, it is said that Dong Fangshuo achieved immortality. It can be seen that although Xu Wei was frustrated all his life, he was not overcast all the time and gave up on himself. Although there is a "half-life down and out", self-study howls in the evening breeze. There is nowhere to sell pearls at the bottom of the pen, and it is helpless to throw them in wild vines. There is also an open-minded view that "I don't get angry when I don't meet spring" (Furong, Zhonghua Book Company, 1983, p. 1300). Xu Wei's thorough understanding of life and fearlessness in the face of pain and setbacks are all because he has experienced too many joys and sorrows in the world and realized that the value of life lies in taking pains. Wen Chang said in Meditation of Zen Monks: "Every opening in the world is hard to smile. You don't know how to smile happily. What happened in the world is not ridiculous. For example, when I go to a place without any pity, I just smile and pay. Even the sky can't help me. " (Xu Wei, Zhonghua Book Company, 1983, p. 1322) In his works, the author Mr. Ma mentioned three points about the spiritual connotation of Xu Wei's "Tao is joking", namely, "game spirit", "comedy spirit" and "banter returning to truth". (Page 128- 137) The discussion on the origin of art has been a long-standing topic in academic circles, and various theories are complicated. Among them, Schiller, a famous German aesthete, and Spencer, a British scholar, put forward that "art comes from games". The Analects of Confucius, a classic work of ancient Confucianism in China, also mentioned that "Tao is the aim, virtue is the foundation, benevolence is the foundation, and art is the tour". Zhuangzi's philosophical thought also regards "swim" as an important part of his thought. Here, "you" is the pursuit of absolute spiritual freedom and liberation, and its connotation is constantly growing, and it is combined with artistic spirit. The game spirit in Xu Wei's artistic creation is his understanding of life.
Xu Wei's bumpy fate and complicated personality in his early years formed his rich and contradictory personality, which further influenced his artistic thought and creation. He was keen on becoming famous in his early years. On the one hand, he has the bohemian personality of a scholar, on the other hand, he is eager to find fame and change his life as soon as possible. I want to get rid of the world, but I have to make a living. It is such a complex and contradictory individual that scholars put forward different views on Xu Wei's life stage. Zhou Qun divided it into six stages: "early toddler, middle school crossing, military career, crazy illness in prison, nowhere to live for ten years, and later life." (Comments on Xu Wei by Zhou Qun, Nanjing University Press, 2006, p. 10-92) According to the changes in the content and style of Xu Wei's prose caused by the changes in his identity, Fu Qiong summarized it as "the period of generations, the period of mountain people." (Research on Xu Wei's Prose, Shanghai Ancient Books Publishing House, 2007) Zhou Shifen divided it into nine stages, namely, Water Town, Vietnamese Ten Scholars, Years of Waste, Shogunate, Several Degrees of Wind and Frost, Prison, Northern Land, Dusk Clouds and Ink Flowers. (Biography of Xu Wei, Shandong Pictorial Publishing House, 1st edition, February, 2003) By Zhou Qun, he made a comprehensive and systematic study of Xu Wei's life. Zhou Fen narrated Xu Wei's life in more lyrical and gentle language, and introduced Xu Wei himself, his artistic thoughts and works in detail by biography. Fu Qiong mainly pays attention to Xu Wei's prose achievements. Scholars have different stages of Xu Wei because of different research directions and purposes. Based on personality psychology, this book is divided into three stages. That is, "self-respecting Confucian", "free and persistent mountain man" and "detached and adaptive deformed man". (page 82- 1 19) The academic circles often regard Xu Wei's imprisonment as a turning point in his life activities. After being imprisoned, the literary talent's life ideal was shattered, and his political ambition and fame were lost for an instant, and his previous life vision was completely shattered. Therefore, the period before imprisonment naturally became the first stage of the author's staging. During this period, Xu Wei suffered repeated defeats and battles, failed eight exams, and tragedies occurred at home from time to time, which made his life into anxiety and confusion, but the pride in his bones still existed. Xu Wei evaluated himself as "proud and playful" in his epitaph. "From a psychological point of view, the arrogance in Xu Wei's character is a manifestation of extreme self-esteem. From deep psychological analysis, extreme self-esteem comes from extreme inferiority and fragile personality psychology. " (Page 83) Social changes will affect individual psychology and behavior. The change of the identity image of historical figures is the reflection of the trend of the social times, the result of historical construction and the choice of historical events. Historical events serve reality, and the analysis of historical events can dynamically understand the political, economic and cultural conditions in different periods. The author's staging of Xu Wei's life also reflected the loosening of centralized rule at that time and the political corruption under the eunuch's authoritarian power. With the rapid development of commerce and the improvement of businessmen's status, extravagance prevails in society. Finally, it was reflected in academics, and the study of mind was particularly prosperous at that time.
As a "marginal person in the literary world", Xu Wei was able to resist this trend and dare to challenge authority when imitation prevailed in the middle of Ming Dynasty. In this paper, Xu Wei is described as a "marginal person in the literary world". The word "edge" permeates every aspect of today's society, and "edge" and "marginal space" often ring in the ear. "Edge is not the end of things ... but the beginning" (martin heidegger). The definition of "edge" in Practical Ancient and Modern Chinese Dictionary is: "the part along the boundary; Close to the border and related in two or more ways. " Generally speaking, edge is a spatial definition that distinguishes one thing from another. Today, with the rapid development of society, the functions of cities are mostly concentrated in a certain range, which easily leads to the definition of space according to the principle of homogeneity, so that the integration of the main building and the surrounding environment, the maintenance of public space and the marginal space are ignored. Due to the neglect of marginal space in the process of urban development, architecture, city and environment are separated and the functional relationship between spaces is lost, so the development of cities is becoming more and more deformed. "In a broad sense, from the separation zone between towns, the public interlaced zone between building units, to the water system, streets and building eaves corridors connecting various functional units of the city ... all belong to the marginal space geographically." ("Edge Effect-Broad Ecological Vision of Urban Planning and Design", by Zhong Xing, New Architecture, 200 1, No.03) Different levels of edge space integrate various functional units and spaces in the city, which has positive significance in urban spatial pattern and architectural connotation. What do you mean by "marginal people" at the other end of mainstream culture? "Marginal people" was first put forward by German psychologist K Lei Wen. At present, there is no consensus on the concept of "marginal people", which is narrowly understood as "a kind of personality split caused by the collision of old and new civilization values or the conflict of different national values" Xu Wei once said: "People learn to be birds, their voices are birds, and their nature is human." Birds learn to be human, their voices are human, and their nature is a bird. "(Preface to Ye Poetry, Xu Wei, Zhonghua Book Company, 1983, p. 5 19), the essence of learning bird language is unchanged. People are still people, and birds will never become adults. Used to satirize those who don't know how to imitate their own works and call themselves poets. In Xu Wei's eyes, this so-called mainstream is exactly what he despises. Scholars on the edge of the literary world believe that really good works can reveal the truth and are not limited to form. Whether he can really impress people is an important criterion for his evaluation of poetry and prose. On the one hand, Xu Wei can pursue the truth because, as a bystander, he is influenced by the mainstream culture and has a deeper thinking about it; On the other hand, it is influenced by Wang Yangming's mind. "Yangming's theory of mind is the unity of Confucianism, Buddhism and Taoism, emphasizing that mind is reason, knowledge and action are unity, and conscience is result. "("Wang Yangming's Mind ",written by Wang Jueren, Democracy and Construction Press, 20 15) In painting, Xu Wei also poses as a" marginal person ". Li Zhi, a little later than Xu Wei, put forward the concepts of "chemical industry" and "painter" when evaluating Xu Wei's Moon Pavilion and The West Chamber. He believes that artistic attainments can be divided into "chemical engineering" and "painting". "Painter" is an artificial originality, which goes against the truth of nature. Although it can grasp the subtle ingenuity of nature, it can't be compared with the truth of nature. "Chemical engineering" means that the description of objective things should be realistic and vivid. Before Xu Wei officially painted, he said in a conversation with his wife Pan Shi, "Painting? Why is it difficult? " "Oh, painters method, tips. What I want to say is that painting and poetry are the same. The important thing is the artistic conception, first write the intention, and write like a god. Painting landscapes, in my opinion, is to express my feelings. Poetry is concise and refined, and painting is painted by Dan Qing, which is also reasonable. I just feel good and draw it in my heart. " (Biography of Zhou Fen Xu Wei, Shandong Pictorial Publishing House, 1st edition, February, 2003, p. 33) The seemingly understated tone reflects Wen Chang's attitude towards life and art, and his view of "true self" focuses on the inner heart of the creative subject. Xu Wei summed up his own creative experience, that is, "the teacher's heart is vertical and horizontal, not close to the portal, and there is no trace to refer to" (Preface to Poetry, written by Xu Wei, Zhonghua Book Company, 1983, p. 52 1-522). Xu Wei began to take classes in middle age and taught students to get rid of superstition and fear of authority with humorous speeches. "The Tao lies in enlightenment, not in preaching. Elephants are invisible. How can they be heard? Enlightenment is the teacher's duty. It should be noted that Mr. Wang is not as good as the younger generation, and then the talents come out. "(Biography of Xu Wei and Zhou Fen, Shandong Pictorial Publishing House, first edition in February 2003, page 53). Wen Chang, as a "marginal person" in the literary world in the middle of Ming Dynasty, objectively, due to the rising trend of imitation in the literary world at that time, political corruption eunuchs were in power, and scholars had great ambitions, but they could not display them. All kinds of social contradictions make some intellectuals like Xu Wei "go up the mountain, into the deep forest, and return to the stream when they are poor, and there are strange stones in the deep springs, far away from the horizon." When they arrive, they will sit with Cao and get drunk. The meaning is extreme and the dream is very interesting. " (Small Window, Chen Jiru, Zhonghua Book Company, 2008, p. 100).
"My book comes first, poetry second, literature third and painting fourth." (Biography of Xu Wenchang, by Tao Wangling, Zhonghua Book Company Press, 1983, p. 134 1 page) Xu Wei put calligraphy first and painting last. Painting has two values for Xu Wei: first, it should be used as "reimbursement"; The second is the catharsis of one's own emotions that please the body and mind. What Xu Wei is most admired by later generations is his literati's freehand brushwork, sloppy dripping and splashing ink. Xu Wei's informal and bohemian personality has many similarities with his writing style and overall style of painting and calligraphy. In terms of artistic form, it is mainly manifested in the use of ink, which combines its freehand brushwork with "ink play" and forms its own unique view of "ink play" beyond its predecessors. Before this, the typical examples of using ink were "Broken Ink Landscape" by Wang Wei and Zhang Yun; Su Shi's Game Calligraphy; "Yunshan Moxi" is Mi's "Yunshan"; Ni Zan, Zhenwu and Zhao Mengfu in the Yuan Dynasty were also famous for their "ink operas". One of the ink methods of Chinese painting, the "breaking ink" method, has rich ink color changes, and the simple black, white and gray change in contrast, which makes the picture ever-changing. The yin, dryness and wetness in the picture reflect the master's philosophical views of yin and yang and black and white. The most important medium in Xu Wei's painting and calligraphy creation is ink. Give full play to the shade, depth and sense of existence of ink in creation, and skillfully integrate ink painting to achieve a clever combination of form and meaning. "Ink Opera" is interpreted in Ci Yuan as: "Ink Opera, freehand brushwork, painting at will." It explains the freehand brushwork of "ink play" and the characteristics of painting with pleasure. As mentioned earlier, Xu Wei's painting is mainly as a kind of "reward" and a kind of physical and mental pleasure. In the mid-Ming Dynasty, the social atmosphere gradually declined, and people indulged in luxurious life. Mind and nature once again stepped onto the historical stage, unable to realize their political ambitions, so they devoted themselves to Buddhism. Generally speaking, the emperors in the middle of the Ming Dynasty all worshipped Buddha, and the real social worship began in the middle of the Ming Dynasty. Under the influence of himself and society, Wen Chang has a natural worship of Buddhism, which is manifested in his works. Xu Wei studied Confucianism and read four books and five classics in his early years to gain fame, which is also faintly visible in his works. However, "learning Confucianism is not bound by it", and the integration of Confucianism, Taoism and Buddhism has given birth to a unique concept of freehand brushwork and "true colors" drama. It is such a "marginal person in literary world" who resists traditional values and secular norms. Today, it seems that his frankness and debauchery are more characteristic of the times.