The first major issue within the beauty of this imagery is the concept of “establishing images to fully convey meaning.” How should we understand this? It addresses the “meaning” in the phrase “writing cannot fully express words; words cannot fully express meaning.” We have divided this “meaning” into four levels, which I won’t elaborate on in detail, but I will still mention them briefly:
The first is empirical meaning, which can be fully conveyed and should be fully conveyed. This is something I advocate. Scientific meaning, thought, knowledge, and empirical meaning can be fully expressed and comprehended—meaning we can understand things. As Kant said, we can know the “thing-for-us,” but the “thing-in-itself” remains beyond our comprehension. This delineates the boundaries of our understanding of the world. Here, too, we generally remain at the level of empirical meaning, asking questions like, “What do you mean?” We are still at this stage, which is insufficient.
The second is religious meaning, which cannot be fully conveyed but can be meditated upon. Notice this point? I also agree with this perspective. It constructs ideals, visions, illusions, experiences, and faith—all of these are built in this way. This is how our lives are constructed.
The third level is artistic meaning, which cannot be fully conveyed but can be associated, experienced, imagined, and intuited. Earlier, I asked, what is imagination? Contemporary writing cannot rely solely on imagination; imagination for its own sake is not enough. What kind of imagination should we have? Experiential imagination. When reflected in sensation, what kind of feeling is it? Pay attention, everyone—it is intuition. What is intuition? If you look it up in the dictionary, the explanation is overly complicated, and by the time it’s explained, intuition itself disappears. How do I define intuition? It is the most direct feeling—transitioning from one state of sensation to another without any intermediary. For example, take Van Gogh’s painting The Starry Night. Admittedly, the quality of this reproduction is poor—the photo doesn’t do it justice. I used to be puzzled by Van Gogh’s works, especially in earlier years. When I saw his Sunflowers, The Starry Night, or The Sun of Arles, I thought, “Is this all there is? How could they sell for such high prices?” I was still at that stage. Later, during my third trip to Europe to see his original works, it was precisely because of this puzzlement that my favorite art museum became the Musée d’Orsay in Paris. The Musée d’Orsay houses everything from Realism to Impressionism, Post-Impressionism, Surrealism, and all forms of modern art. It is a vast artistic space, so the first place I headed was the Van Gogh exhibition hall.
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