In the poem "24 Poems: Dilution", it is said: "In silence, there is a subtle mechanism. Drinking is peaceful, and the crane flies alone." This imaginative criticism of the plain style of poetry comprehensively reveals the cultural connotations of classical dilution or plain beauty. Among them, "Su Shi Mo" refers to an aesthetic state of emptiness and indifference, "Miao Ji" refers to an aesthetic way of divine understanding, "Micro" refers to an aesthetic object that presents its true nature, and "Drinking in harmony, alone crane and flying" refers to an aesthetic realm of transcendence and harmony. The poet confronts the true taste of things with a vague and indifferent emotion, and creates a marvelous work through the ingenuity of heaven. The fusion of light emotions, light objects, light techniques, and light realms not only forms a plain and innocent artistic style, but also opens up a subtle and hidden world of life. The subtle emotions that should not be hidden, as a mainstream aesthetic emotion theory, have always been regarded as the source of power in literary and artistic creation through the emotional expression theory of "feeling things moving". However, in traditional Chinese culture, there still exists a theory of suppressing emotional expression known as the 'light emotion theory'. The theory of indifference requires people to suppress their emotional impulses as much as possible when facing external objects, and to be in a state of detachment and conformity to the objects. The founders of the theory of indifferent emotions were Laozi and Zhuangzi. In Chapter 20 of Laozi, it is said, "The crowd is bustling, like enjoying the prison, like spring on stage. I am alone, like a baby's unborn child. Faced with grand etiquette and the beautiful scenery of spring, people often cannot help but be overjoyed, while those who embody the Tao are indifferent and peaceful, unaware of laughter and unmoved. In Zhuangzi's "Journey to the North", it is said: "The mountains and forests, the high soil and high ground, make me happy and joyful! The joy is not yet over, but sorrow continues. When sorrow and joy come, I cannot resist, but their departure cannot be stopped. Sorrowful husband! People are like objects traveling against the ear!" Zhuangzi believed that although the beauty of mountains, forests, and water banks can create emotional pleasure, it is still a temporary happiness of "emotions change with the times, sorrow and joy change". People often feel happy when they see beautiful scenery, but sad when they lose it, so their sadness and joy are actually stopped by things. Therefore, Zhuangzi proposed a new way of responding to objects: "The heart of the most human being is like a mirror, not welcoming or hiding, so it can overcome objects without harming them." If the response of people and the world to objects is a manifestation theory that "emotions are transferred by objects" and emphasizes emotional intensity, then the response of people with the Tao to objects belongs to an emotional theory that "does not interact with objects" and has no emotional tendency. This kind of emotion that responds without hiding is called 'tranquility' by Laozi and Zhuangzi. According to Chapter 31 of Laozi, "Soldiers are ominous tools, not the tools of gentlemen. They must be used as a last resort, and tranquility is the top priority." Zhuangzi's "Deliberation" also mentions "not interacting with things, and being indifferent is the ultimate." Here, tranquility or indifference (through "indifference") is proposed as a response to things, which requires people to give up their biases, intentions, enthusiasm, and obsession when facing all things in the world, and to approach them with a calm and unintentional attitude. The theory of responding without hiding emotions has created a unique aesthetic theory of emotions. This aesthetic emotion theory emphasizes not the emergence and expression of emotions in aesthetics and artistic creation, but rather the pursuit of an aesthetic experience that is detached from all things in the world with a calm and indifferent attitude towards life. Shao Yong once said, "To view things from the perspective of things is also about nature. To view things from the perspective of oneself is also about emotions." This aesthetic emotion of dispelling emotions and adapting to things reveals the natural nature of life, coexisting and coexisting with all things, and becoming one. Tao Yuanming's poem goes: "In the midst of the great waves, one neither likes nor fears." When people observe things with a calm and indifferent attitude, they open up an aesthetic world where "the body and bamboo transform, creating infinite freshness. The true manifestation of the mundane things is manifested through the simplicity of emotions, not indifference and greed towards things, but rather the discovery and preservation of the true state of things. In Chapter 16 of Laozi, it is said: "To achieve the extreme emptiness, to maintain tranquility and tranquility. All things work together, and I observe them to restore them. The myriad of things return to their roots." In Zhuangzi's "Response to the Emperor," it is said, "You wander with a calm heart, merge with qi in the desert, and follow the nature of things without tolerance for personal gain. The feeling of emptiness and indifference eliminates the projection and preference of subjective emotions towards objects, allowing the true appearance of objects to be presented freely. This kind of self reflection is a sensory manifestation of the unique operation of the divine skills of the way of heaven and earth. Chapter 35 of Laozi states, "The exit of the Tao is bland and tasteless. In Zhuangzi's "Deliberation," it is said: "Tranquil and boundless, and all beauty follows it. This is the way of heaven and earth, and the virtue of the sages." The operation of the way of heaven and earth is not subject to artificial speechless mysticism, existing in a state of indifference, tasteless, and infinite. The indifferent nature of the Tao makes the things that manifest the Tao naturally appear as a kind of indifferent thing. Therefore, in Zhuangzi's "The Way of Heaven," it is said that "the emptiness, tranquility, tranquility, and emptiness of the mind are the essence of all things." The statement "the essence of all things" implies that all things are inherently plain, and the presentation of the beauty of plain objects is to discover and capture their natural nature and true nature. Ruan Ji once said, 'If you don't get annoyed, then yin and yang will naturally communicate, and if you don't have any taste, then all things will enjoy themselves.'. The object presented by the beauty of plainness is not dull or withered, but the free leap of physical nature, as in the present. The natural and authentic state of aesthetic objects, as the saying goes, 'The intention is not to seek color similarity; the predecessor is like a horse in nine directions.' However, due to the removal of some color, sound, and fur, it is a light taste for human sensitivity; But for things, it reflects the infinite richness of their inherent essence. The beauty of plainness respects the inherent nature of things, and it does not reject the natural presentation of the inner vitality of objects. What it rejects is the deliberate exposure and emotional focus of humans on them. Mi Fu said that Dong Yuan's paintings are innocent and charming, although plain, they are quite strange; Yun Shouping also praised Ni Zan's paintings as "innocent and simple, each tree and stone has its own charm of thousands of rocks and valleys". Huang Tingjian's poem goes: "The sound of flowing water is unintentional, and white clouds come out without intention. Water flows in a plain place, vast and deep." This indicates that behind the seemingly plain feeling, the beauty of plainness reveals the natural nature of all things in heaven and earth, full of interest. Su Shi's famous lines, such as "withered on the outside but plump on the inside, like a simple yet beautiful beauty," "hair delicate in simplicity and antiquity, sent to taste in simplicity and simplicity," and "quality and exquisite, plump and substantial," all reveal the vivid and interesting realm and meaning contained in the beauty of simplicity. The natural technique of lightness cannot achieve the beauty of lightness without the intervention of skills. However, the beauty of simplicity refuses to be deliberately carved. This means that plain works are difficult to create and require exceptional skills. Mei Yaochen's statement "There is no such thing as ancient or modern poetry, only the difficulty of creating plainness", Su Shi's statement "With the highest level of precision and ability, one can create sparse plainness", and Zhu Xi's statement "Like writing a composition, the new and clever one is easy to create, but it is difficult to create plainness. However, it is necessary to return it to the new and clever, and then create it in plainness" all indicate the difficulty of creating plainness and the highest requirement for technique. The difficulty of achieving a plain work lies in its ability to be done naturally without intention. This exquisite ability has reached its pinnacle and has been internalized as a natural activity of life. Lu Ji once pointed out that the difficulty of writing lies in the fact that "meaning does not measure substance, and writing does not capture meaning". The misalignment between object and meaning is due to the dichotomy between subject and object, while the misalignment between meaning and text is due to the dichotomy between mind and hand. The significance of art lies in connecting objects, meanings, and texts (artistic language), achieving the communication of art from construction to work. Zhuangzi used fables to list the superb technical activities carried out by Taoists, such as butchering oxen with pots and pans, chopping wheels with flat wheels, carrying a hunched person, rowing boats with people from Tianjin, Lv Liang's husband dancing in the water, cutting wood into beams for cutting in Ziqing, and spinning and covering rules with work wheels. These skills are free from external utilitarianism and ingenuity, and are all miraculous works that conform to the nature of life. It bridges the contradictions between body and mind, subject and object, and realizes the free flow between heart, hand (body), and object. The techniques of "obtaining from the hand and responding to the heart" and "pointing and materializing without relying on the heart" both indicate that this technique of entering the Tao is a plain technique that is not trapped in objects, not stagnant in the hand, not congealed in the heart, and does not know what is happening. This kind of skill of unity of body and mind, and unity of self and object, is not innate, it is a leap in skill achieved through countless trials and tribulations. The advancement of "technique" in the fable of "Bao Ding Jie Niu" and the inheritance of skills in the story of "Zhi Ji" are all processes of integration, comprehension, and ethical conduct between the mind, hands (body), and objects. Both carving and carving, return to simplicity The skill of being both old and skilled, as if it were a clumsy skill, internalizes human skill into the instinct of life, achieving a natural and natural state. Huang Tingjian believes that "upon familiar observation of Du Zimei's ancient regulated poetry after arriving in Kuizhou, one can find that the syntax is simple yet ingenious. It is plain and the mountains are high and the water is deep, seemingly unattainable. The article is accomplished without any axe or chisel marks, making it a masterpiece. Su Shi once said, "When writing, one should create a magnificent atmosphere with colorful hues. As one ages and matures, one can create simplicity." The technique of simplicity in the beauty of simplicity is the ultimate method and technique that cannot be achieved without technique. The aesthetic activity of blending light emotions, light objects, and light techniques beyond the realm of freedom generates a plain aesthetic experience. This plain aesthetic experience is profound and meaningful. Mei Yaochen highly praised Lin Bu's poetry, believing that "his poetry that follows objects and plays with emotions is plain, profound, and beautiful, and reading it makes people forget all kinds of things. The emotion without attachment follows the object to obtain truth, and the technique without trace is shaped according to the object. The plain aesthetic experience leads to a profound aesthetic realm. In this realm, the body and mind, people and things, skills and Tao can be connected. Zhuangzi's "Tianxia" praises Laozi, saying, "I live alone with the gods in tranquility. In Zhuangzi's "Deliberation", it is said: "The state of emptiness and tranquility is in accordance with the virtue of heaven." The state of detachment is the life state that Laozi and Zhuangzi aspire to, where people and the way of heaven are in harmony. Zhuangzi's "Deliberation" also emphasizes that "if one is tranquil and indifferent, with emptiness and inaction, this is the peace of heaven and earth, and the quality of morality. Therefore, it is said that if a sage rests, it is easy, and if it is easy, it is peaceful. If it is easy and peaceful, then worries cannot enter, evil spirits cannot be attacked, so its morality is complete and its spirit is not deficient. In Zhuangzi's view, the path of tranquility is not only the origin of heaven and earth, but also the ultimate realm of human morality or physical Dao. If a person can rest in this tranquil and indifferent state, they can find solace and achieve the wholeness of their moral character and spiritual fulfillment. It can be seen that the ultimate value orientation of the realm of simplicity is a philosophy of life that transcends freedom. The taste of the world is clear and joyful. "Immersed in the spirit of Laozhuang, the beauty of simplicity leads to a clear and subtle taste of life. Who should I sit with? The clear breeze in the bright moon will clear my mind. This is a great beauty realm where there is no stickiness, everyone finds their place, and all things are harmonious and simple. The plain aesthetic realm maintains the transcendence of the spirit of life and the subtle connection between all things in the world. On the one hand, it enables the transcendence of the spirit of life not to be isolated from the human world, but to reside in the poetic realm of "reading music and cultivating chopsticks, beauty is said to be carried back"; On the other hand, it also enables the aesthetic and artistic activities of the human world to move away from reality and vulgarity, and towards the spirit of "breaking away from resemblance, shaking hands is already contrary". The transcendence of this spirit is not a numb indifference to the world, but a sense of nobility in life and spiritual consciousness, and a longing for an ideal state of life. The subtle emotions that should not be hidden, the subtle things that truly manifest themselves, the natural and natural subtle techniques, and the free transcendence of the subtle realm form a unique theoretical model of Chinese aesthetics. The subjective spirit of simplicity and beauty, the natural spirit of respecting the nature of things, the innate craftsmanship spirit, and the transcendent spirit of harmony between man and nature, have forged the profound qualities of Chinese aesthetic spirit and are worthy of further promotion. (New Society)