The History of Beauty Reading Notes, What is the feeling after reading The Course of Beauty ?

"The Course of Beauty" takes a bird's-eye view of thousands of years of Chinese art and literature from a macro perspective, and provides a description and summary and an overall aesthetic grasp. Among them, such as the "dragon flying phoenix dance" of primitive ancient art and the "fierce beauty" of Yin and Zhou bronze art, the "Confucianism and Taoism complementarity" of the pre-Qin rational spirit, and the "romanticism" of Chu Ci, Han Fu and Han portrait stones.

The awakening of people" of the Wei and Jin dynasties, the six dynasties, the Tang Dynasty, the Song Dynasty Buddha sculptures, the Song and Yuan Dynasty landscape paintings, poems, lyrics, and songs have their own aesthetic categories, the Ming and Qing dynasties, the opera from the romantic and sentimental and realistic changes and other important views of the cherry blossoms, many of the predecessors have never been sent. The book was first published in 1981 and has been reprinted several times in hundreds of thousands of copies. It has been translated into English, German, and Korean.

The idea of the work. The history of Chinese aesthetics presented by Li Zehou is not a chaotic and chaotic "chaos", nor is it an accumulation or listing of some accidental individual events, but is presented as an organic and orderly dynamic evolution system, a historical interpretation and description that highlights "logic".

That is, behind the historical phenomena that seem to be chaotic, accidental, and individual events, there is an internal order and trend that is hidden and permeated, and this internal order and direction is exactly the inevitable relationship between beauty and human beings, nature, and society, and the unity of objectivity and sociality that Mr. Li Zehou adheres to the Marxist concept of practice and starts from the "humanization of nature" and "the subject of practice".

That is to say, there is a "logic" in history, and this "logic" is not a priori, but a kind of internal order and pure traces of the mainstream track of history itself, a law of objective operation.

Fundamentally speaking, as a researcher, Mr. Li Zehou is not simply describing historical facts, but elevating the inner "logic" from the obscuration of "history" dust to make it prominent, clear and orderly.

In February, I turned over such a book "The Course of Beauty", written by Li Zehou. I learned that he was a famous philosopher who was engaged in the study of modern Chinese intellectual history, philosophy, and aesthetics.

Sure enough, when it comes to philosophy, the aesthetic one is a little unbearable, and it's not as good as the **ah prose article.

The article reads: There are very few dedicated art museums in China, have you ever been to the Chinese History Museum in front of Tiananmen Square in Beijing? If you're not very familiar with those historical facts, how about doing a beauty tour?

The painted pottery pot with a human face containing fish, the antique bronzes, the dazzling Han Dynasty handicrafts, the beautiful bones and clear statues of the Northern Dynasty sculptures, the Jin and Tang Dynasty calligraphy that walks the dragon and snake, the endless Song and Yuan landscape paintings, and the famous poets and writers Qu Yuan, Tao Qian, Li Bai, Du Fu, Cao Xueqin ......Aren't they exactly what they show the spiritual history of this ancient civilization that you can directly feel? The spark of the spirit of the times is frozen and accumulated here, leaving and infecting people's thoughts, emotions, concepts, and moods, often making people sing three sighs and linger.

To be honest, I really haven't stopped to appreciate the ancient bronze totem, and occasionally I see it on TV, but I feel that it is terrible and illusory, and I really can't appreciate the ancient art of "unpredictable and unpredictable".

Without understanding this primitive aesthetic consciousness, it is impossible to understand that this kind of bronze art, ceramic ornamentation, and bell and ding gold inscriptions have a "reproducible and miraculous beauty of childhood".

Look at that beast (human) face big Yue, although it is consciously exaggerated and hideous, there is still something childish and even charming in it? The same is true of many gluttonous ornaments, which still have a certain primitive, naïve, unpretentious beauty.

So far from any hideous mystery can become beauty. On the contrary, the various human beings with teeth and claws, gods or animal figures, no matter how boastful and terrifying, only show their emptiness and ridiculousness, and they do not have the historical and inevitable destiny of bronze art and the temperament of early human childhood.

The author also said that the same Tang Dynasty's three-color horse warriors, no matter how bright and dazzling, are far from the imposing power and sportiness of the ancient and clumsy horse shapes of the Han Dynasty.

Although the Song Dynasty portrait bricks are delicate and neat, the face is good, and the color is delicate, compared with the Han Dynasty, the sense of life and artistic value are very far apart, and the vigorous life of the Han Dynasty art, the overall strength and momentum, which is difficult for later generations of art to achieve.

This can't help but make me think that when it comes to education in the meaning of life, people often value the ability to prepare young people for a living in the future, which is of course one of the goals of education, but young people will not only have to cope with life in the future, they also have to enjoy life and understand life.

Enjoying life and understanding life begins with discovering and recognizing beauty.