Wang Guowei s Aesthetic System of Modernity?

From the kingdom dimension. It is not difficult to find that his knowledge and understanding of aesthetic education are obviously impregnated by German philosophy and aesthetics. This is also evident in his academic background, and the period when Wang Guowei focused on discussing and advocating aesthetic education was also the period when he first came into contact with German philosophy and aesthetics.

For this reason, Wang Guowei's interpretation of aesthetic education is often rich in philosophical and aesthetic implications, showing a higher level and intention, which makes the theory of aesthetic education in China lay a high starting point at the beginning of its establishment. Wang Guowei absorbs Western philosophy.

The general concept of aesthetics has put forward a number of important theoretical issues related to aesthetic education, such as the theory of "useless use", the theory of "games", and the theory of "three major relationships".

Speaking of "useless use", Wang Guowei interprets it from a philosophical and aesthetic perspective. The so-called "uselessness" refers to the non-utilitarian and non-materialistic nature of aesthetic education. Since Kant.

After putting forward the theory of "aesthetics without utilitarianism" for the first time, this theory has become a popular view of modern Western aesthetics, and has also become an important topic for Wang Guowei's in-depth and elaboration.

Wang Guowei agrees with Kant et al.'s view of history, and has many discussions on the non-utilitarian problem of aesthetic education: "The purest happiness is the purest happiness that makes people forget their own interests and enter the realm of nobility and purity." "The nature of beauty, in a word:

Cute to play and not to use is already. Although the beauty of things is sometimes sufficient for our use, when people regard it as beautiful, we will never take into account the points that can be used. ”

Wang Guowei said: The poet must enter and go out of the natural life. It is within it, so it can be written. Out of the ordinary, so it can be observed. In it, it is alive. Out of the ordinary, so there is elegance.

That is to say, poets must go deep into life in order to obtain rich creative materials and make their works vibrant; Poets must also observe life from a certain height, and look at life as a whole, so that their works can have profound content and uniqueness. Wang Guowei has comprehended the dialectical relationship between art and life to a certain extent. In order to be "elegant", Wang Guowei also emphasized that we must be persevering, indomitable, and prudent, long-term, and arduous to explore the truth of life.

The most influential and representative part of Wang Guowei's literary and artistic aesthetic theory is the realm, and the meaning of which is equivalent to the artistic conception.

Wang Guowei's Profile:

Wang Guowei (December 3, 1877 - June 2, 1927), the first name Guozhen, the word Jing'an, Boyu, the first number of the auditorium, the evening number of the Guantang, also known as the Yongguan, the loyalty of the people. Han nationality, Haining Prefecture, Zhejiang Province (now Haining, Jiaxing City, Zhejiang Province). Wang Guowei is a well-known scholar with international reputation at the intersection of modern and modern China.

In his early years, Wang Guowei pursued new learning, accepted the influence of bourgeois reformist thought, integrated Western philosophy and aesthetic thought with classical Chinese philosophy and aesthetics, studied philosophy and aesthetics, and formed a unique aesthetic ideological system.

Guo Moruo called him the founder of the new historiography, not only that, he had no professional teacher in his life, set up his own household, made outstanding achievements, made outstanding contributions, and had profound knowledge and innovation in education, philosophy, literature, opera, aesthetics, historiography, ancient literature, etc., leaving a broad and profound academic legacy for the treasure house of Chinese culture.

Wang Guowei's evaluation:

Wang Guowei was one of the last important aesthetic and literary thinkers of modern China. He was the first to try to integrate Western aesthetics and literary theory into traditional Chinese aesthetics and literary theory to form a new aesthetic and literary theory system.

In a sense, he is not only a master of classical Chinese aesthetics and literary theory, but also a precedent for modern Chinese aesthetics and literary theory.

In the history of Chinese aesthetics and literary thought, he is a bridge from ancient times to modern times, playing a role in connecting the past and the next, carrying forward the past and forging ahead into the future, and is known as "the end of Chinese scholarship in the past 300 years and the pioneer of scholarship in the past 80 years".

Gu Ya said that it was the most influential in Wang Guowei's literary and artistic aesthetic theory.

Gu Ya said: "It has a unique place in Wang Guowei's aesthetic theory. Compared with Wang Guowei's "realm theory", "useless theory" and "genius theory", "Guya theory" reflects different theoretical tendencies, but its spiritual core is consistent, and "Guya" emphasizes the same kind of pure pleasure without disinterest and imitation. As a way of condensing the appearance of "beauty", it has an independent meaning.

As a common feature of artistic beauty, it also reflects the tendency of popularization, which can make the public feel the profound traditional culture in the appreciation of ancient art, so as to enhance the personality cultivation. Mr. Wang Guowei's thinking on the "quaint" provides useful inspiration for the aesthetic education significance of our traditional culture.

Literary aspects

Wang Guowei's most famous works in literary creation and literary theory are his "Words of the World" and "Words of the World", which constitute a mutually corroborative relationship. The achievement of his lyrics lies in the development of the realm, and the realm is also what "Words of the World" emphasizes.

From the analysis of specific works, Wang Guowei's lyrics mostly get rid of the cliché of expressing parting feelings, favoring and humiliating gains and losses, and focus on showing the tragic fate of individual people in the vast universe, which is a torture of life and soul.

He "often uses a heavy heart and a last resort to prepare a mold wheel of pen and ink, revealing the artistic conception of the universe, the wandering life, and the unfounded joy and sorrow, that is, the inevitable tragedy" (Zhou Cezong's "On the Words of the Kingdom and the World"), so the poems always reveal a sad atmosphere.

As said in "Picking Mulberries": "Life is only like the wind before the wind, happiness is also sporadic, sorrow is also sporadic, all of them are a little bit of the river." "Discovering the suffering of the world is the opposite of the old ways and contentment of life, and it is the awakening of man.

In this way, the "realm" is given a new connotation, and his words express a philosophical realm, which transcends the realm of ethics.