"Harmony between Self and Object": A Study of Wen Zhengming's "Huxi Thatched Cottage" under the Aesthetic Concept of "Enjoying the Spirit"

Abstract

The core essence of Zong Bing's "theory of enjoying the spirit" in the Southern Dynasties lies in achieving the aesthetic realm of "harmony between self and object" through nature as a medium, thereby fulfilling the spiritual pursuit of enjoying the spirit and nourishing the mind. This article takes Wen Zhengming's "Huxi Thatched Cottage" as an example, which has received insufficient attention from the academic community, and focuses on exploring the visual transformation of the aesthetic concept of "harmony between self and object" in the painting, explaining how Wen Zhengming integrated his own spirit into the natural scenery. It aims to reveal that this painting is not only a record of a gathering of friends and a reclusive life, but also, within the context of Ming Dynasty literati painting, a profound artistic interpretation of Wen Zhengming's spiritual expression in natural landscapes and his aesthetic ideal of "harmony between self and object" in the theory of "enjoying the spirit."