A Review of the Relationship between Contemporary Aesthetic Culture and Poetry

1. The ideological nature of literature and the aesthetic characteristics of literature are organically balanced and trembling together, resulting in a "qualitative change" and a "literary aesthetic ideology" as the fundamental nature of literature.

2. Its specific connotation is from the perspective of nature: there is a group tendency to bridge the key, and there is a commonality of human beings;

3. From the perspective of the way the subject grasps the object: it is cognition and emotion;

4. From the point of view of purpose and function: it is non-utilitarian and utilitarian;

5. From the perspective of the form of literature reflecting life: it must be hypothetical and true;

6. The aesthetic ideology of literature is the characteristic that distinguishes literature from other ideologies. The aesthetic ideology of literature, as a unique system of thinking and ingenuity, is not "pure aestheticism" or "aesthetic centrism" as some people now say. It is also not the same as the theory of literary emotional expression.

The aesthetic ideology of literature has a rich and complete connotation.

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Literary Theory: The "Modern Rhythm School" in the field of Chinese poetry believes that the aesthetic characteristics of poetry include real and abundant feelings, bold and rich imagination, rich imagery, and refined and rhyming language.

Literary theory: The "Modern Rhythm School" in the field of poetry in China believes that the aesthetic characteristics of poetry include:

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Literary Theory: The "Modern Rhythm School" in the field of Chinese poetry believes that the aesthetic characteristics of poetry include real and abundant feelings, large trembling chains, bold and rich imagination, rich imagery, and refined and rhymed language.

Expansion: The main aesthetic characteristics of poetry include real and abundant feelings, bold and rich imagination, rich imagery, and refined and rhyming language. Among them, whether poetry has emotion or not, and what style of emotion it has, is the most important feature of poetry aesthetics.

Because from the perspective of poetry creation, emotions are easy to make the poet have the impulse to create poetry, and the poet can only have artistic imagination after being emotional, and the indulgent artistic imagination can enable the poet to capture the unique aesthetic image and find an accurate image of the expression language. From the perspective of the acceptance of poetry, only by moving people with emotion, so that readers can have emotional resonance and heart vibration, can we receive good artistic efficacy. [Fresh oak digging flowers] <>

Answer] :(1) Emotion is the soul of poetry. Expressing emotion is not the preserve of poetry.

2) The aesthetic emotions that truly belong to poetry have the following characteristics: sincerity and not pretense, purity, depth, intensity, subtlety, and novelty.

3) Ancient Chinese poetry attaches great importance to the expression of filial piety and prosperity.

Aesthetic descriptions of literature in traditional Chinese aesthetic culture:

First of all, literature has three meanings, namely its cultural meaning, its aesthetic meaning, and the universal meaning of literature. However, the concept of literature is uncertain and constantly changing.

Each era has its own concept of literature. Literature is essentially part of the superstructure, it is a special ideology. The universal attribute of literature is that it is a general ideology; The special property of literature is that it is an aesthetic ideology.

The aesthetic meaning of literature lies in the fact that, no matter how different traditional views there are on the aesthetic attributes of literature in Chinese and Western literary theories, they both hold a similar position after all: literature is different from general cultural forms and has special aesthetic attributes, which refers to the empty behavior of language and its works with aesthetic attributes, including poems, prose, scripts, etc. This is precisely the aesthetic meaning of literature.

The aesthetic ideology of literature, such as the blind attribute, refers to the situation in which the aesthetic expression process of literature and ideology are impregnated and infiltrated with each other, indicating that aesthetics is impregnated with ideology, and ideology is skillfully conveyed through aesthetics.

Specifically, the aesthetic ideological attribute of literature is manifested in the fact that literature has become a multi-related domain between non-utilitarian, figurative, and emotional discourse and social power structure, and its direct non-utilitarian, figurative, and emotional nature is always intertwined with deep utilitarianism, rationality, and cognition.

The aesthetic description of literature in traditional Chinese aesthetic culture is Daogen Wenzhi.

Analysis: The root of the Tao is the root, and the text is the branch. The aesthetics of Zhu Xi in the Southern Song Dynasty.

The Tao is the root of the text, and the branches and leaves of the Tao of the writer. (Zhu Zi's Language, Volume 139) He believes that the Tao and the text are a master-slave relationship, so only the root of the book is the Tao, so it is sent to the text and the Tao. Three generations of sages have written from this heart, and the text is the Tao (ibid.).

Aesthetics in Traditional Chinese Culture:

After the baptism of the "rational spirit of the pre-Qin and Han dynasties", the aesthetic consciousness of ritual and music culture with human interest and political and religious ethics as the core was finally established.

The concept of "Wen" in ancient China is no less than "beauty" in aesthetics. They constitute the two basic categories of Chinese aesthetics.

"Beauty" retains the character of utilitarianism; "Wen" has a tendency to be ultra-utilitarian from the beginning.

Confucius said: "Benevolence is beauty." ”

Mencius supplemented Confucius's "benevolence is beauty" with "righteousness as the text".

Xunzi believes: "Human nature is evil, and its good ones are hypocritical." Evil can be guided by "rites" to make it good. Therefore, "without hypocrisy, sex cannot be self-beautiful".

Mozi's point of view: "For pleasure and non-profit." It means that you will eat your full stomach first and then talk about beautiful things. He was denounced by Mencius as a beast.

Lao Tzu said: "The sound of the big sound is the sound of the elephant, and the elephant is invisible." ”

Zhuang Ziyun: "Heaven and earth have great beauty without words. ”

In Lao Zhuang's view, true art is the creation of natural (non-artificial) "Tao", and true aesthetics is the experience and contemplation of Tao. The Taoist Tao is, in a sense, a negation of the Confucian state and Qingde (benevolence, righteousness, etiquette, and happiness). It has something metaphysical, but not "after physics" in the West, but "after ethics".

Dong Zhongshu's Neo-Confucianism established a theological teleology of "the unity of heaven and man".

Since then, the empathetic attitude of blending mind and object has become the main aesthetic method of Chinese literati, the empathetic technique of integrating scenes has become the main law of Chinese artistic creation, and artistic conception has become the main aesthetic category of Chinese aesthetics and Chinese art. The so-called artistic conception refers to the realm of "the unity of heaven and man" in the artwork.