In 2022, CCTV "Spring Festival Gala" has been held for 40 times.

As a common expectation of Chinese people all over the world, it has a prominent feature, that is, it is a shared appreciation of the refined and the common.

The elegant will appreciate its quality, and the vulgar will enjoy it. Everyone's feelings about the "New Year's taste" can be satisfied in a party, the emotions resonate, and the appeals are responded to. This is the original meaning of the Spring Festival Gala. .

　　The important connotation of Song Yun culture is also appreciated by both refined and popular, such as lyrics and music, commentary, Zaju, shadow puppets and other traditional Chinese popular literature and art, which all appeared in the Song Dynasty.

Inseparable from the fireworks, this is the unique charm of the Chinese aesthetic spirit. It does not place the "literary and artistic model" in the elegant "cloud", but emphasizes that the secular life has its own true meaning.

Today's "Spring Festival Gala" brings this charm into full play.

　　Wang Ximeng's "A Thousand Miles of Rivers and Mountains" in the Northern Song Dynasty and Huang Gongwang's "Dwelling in the Fuchun Mountains" in the Yuan Dynasty are both exemplary works of Song Yun.

Huang Gongwang was born in the late Song Dynasty and was deeply influenced by Song Yun.

The landscapes they write are not entirely lofty and elegant, but contain villages, pavilions, fishing boats, and the aesthetic paradigm of an era in the mountains and rivers.

This model was interpreted as the creative music and dance programs "Only Green" and "Remembering Jiangnan" in the Spring Festival Evening, which turned the "elegant" side into "vulgar".

It provides a new way for today's people to understand and admire the ancients.

　　In the program, the green water and green mountains are transformed into graceful dancers, with high buns and light postures on the mountains and peaks; the walker, woodcutter and fisherman are very comfortable, fishing, carrying firewood, traveling and chanting. Poetic and fairy tale.

This kind of literary and artistic style is inseparable from the mundane taste and transcends the mundane taste.

Especially in "Remembering the South of the Yangtze River", contemporary literary and artistic masters play ancient literary and artistic masters, so that the familiar cross-strait film and television stars appear in a picture frame, from the vulgar to the elegant.

There is infinite affection in the ordinary, and there is real interest in life in daily life, which makes people clap their hands: this is Song Yun's literary style.

　　The transformation of ancient paintings into literary programs is to transform the plane into three-dimensional, so that the two-dimensional space that originally required the intervention of the imagination has become a three-dimensional world that can be directly perceived.

This transformation itself is the manifestation of the transformation from elegance to vulgarity.

In the process, the immersion of Song Yun's culture has also received a technically contemporary expression.

　　The so-called "immersion" can be called "spatial awareness" in painting.

The most praiseworthy person to view "Dwelling in the Fuchun Mountains" is the sense of immersion brought about by its scattered perspective. People look at the painting as if they are in a painting, and they move with the scene. And "A Thousand Miles of Rivers and Mountains" is uniquely colored on silk, showing the style of the south of the Yangtze River with green landscapes, including fishing villages and wild markets, waterside pavilions, Maoan thatched cottages, as well as fishing, sailing, playing, and going to the market.

This kind of spatial awareness of the combination of movement and stillness, and the unity of people and scenery, is based on the famous remarks in the "Linquan Gaozhi" by Guo Xi of the Song Dynasty, that is, "The landscape has feasible, promising, tourist, and living, and painting. Everything up to this point is a wonderful product." "Fuchun Mountain Residence" and "A Thousand Miles of Rivers and Mountains" are undoubtedly wonderful products, but their wonderfulness is reflected in the immersion of "feasible and hopeful, and one can travel and live". This kind of theoretical generalization will inevitably be a pain in the ass.

　　The Spring Festival Gala shows "Only This Green Mountain" and "Remembering Jiangnan" vividly expressed this sense of immersion.

The dance "Only Blue and Green" not only transforms people into mountains and mountains, but also transforms "A Thousand Miles of Rivers and Mountains" into a sound and light landscape screen in the entire studio, with twists and turns and elegant; Through the direct interpretation of the actors, the living experience of the artist is expressed as a "poetic dwelling" without a sense of barrier, which brings the charm of Chinese aesthetics to the face.

In fact, people are not unfamiliar with Song Yun, and the poems of Lu You and Su Shi are well known to women and children.

That feeling of familiarity and unfamiliarity is an important reason for the emergence of immersive aesthetic experience.

　　Chinese traditional aesthetics is not only the spring and white snow hanging on the wall, but also the living environment and cultural atmosphere of the people’s daily necessities.

In the Song Dynasty, it was silk, tea wine, porcelain jade, gardens, food, clothing, flower decoration, and incense, all in the ordinary life of ordinary people.

Today’s people inherit traditional Chinese aesthetics, and the most important thing is to create this kind of “culture” that is full of contemporary life – a culture that people are willing to immerse in for a long time.

　　"A Thousand Miles of Rivers and Mountains" and "Fuchun Mountain Residence" both focus on "mountain" and "water", both focus on the south of the Yangtze River, and both take the scene of harmonious coexistence of human beings with heaven and earth as the object of expression.

This is the highest realm of Chinese aesthetics spirit, and it is to establish an ecological utopia in the earthly world where both the refined and the common.

Tao Yuanming said: "What is the way to die, the body is the same as the mountain", which is a simple expression of this ecological view.

　　"Only Blue and Green" uses people to make mountains, which is an artistic presentation of the dialogue between the ancients and nature.

Xin Qiji said, "I see how charming the green mountains are, and I expect them to be like this when they see me." Li Bai said, "I never get tired of seeing each other, but Jingting Mountain is the only expression of this mood."

The opening chapter of "Remembering Jiangnan" said that "Fuchun's landscape is inhumane", and even praised the natural world as a fairyland beyond the world.

It is not "Huanhuan", but it is in "Huanhuan".

Chinese people put their love on landscapes, not to avoid the world and to cultivate hard to gain a good reputation, but just to catch firewood and fish, and watch "the distant mountains are long, the clouds are chaotic, and the Xiaoshan is green".

In these varied landscapes, I realized that "man and nature are a community of life".

　　In the expression of Song Yun culture, "man and nature are a community of life" is not as simple as protecting the environment.

Su Shi served as a judge in Hangzhou, inspected Fuyang, and wrote "Xingxiangzi: Guo Qiliase" at the age of thirty-seven; Lu You ended his military career, returned to Shanyin, passed through Tonglu, and wrote "Magpie Bridge Immortal: One Pole Wind and Moon", Aged forty-six years old.

To appreciate the realm of the unity of man and nature in which man and nature are a community of life, it is impossible without considerable experience and accumulation.

"Only Blue and Green" and "Remembering Jiangnan" are based on complex modern media technology, but they present only simple and prosperous gestures, poems and acting skills, which meaningfully bring Song Yun culture into the most exquisite The feeling of returning to the basics and washing away the splendor in the complex is expressed.

(Author: Lin Wei, Dean of the Department of Film and Television Art and New Media, Zhejiang University)