Research On The Theory Of Emotion In Wang Chuanshan Poetics

Wang Chuanshan emotion poetics is both aesthetic and ethical.Adopting the study method of cultural poetics and interdisciplinary research into Chuanshan poetics,it is found that its poetics are not narrow poetics.From the perspective of traditional Chinese culture,the development of poetry and the rheological changes of thought,especially in the process of writing ethics and aesthetics in the late Ming dynasty,the function of poetics and the significance of culture are worth pondering.The reasons for Chuanshan’s emotional poetics are not simple.This paper probes into the relationship between the ideological trend of the late Ming dynasty and the poetics of Chuanshan poetry,and preliminarily explores the theoretical basis of Chuanshan’s emotion poetics.Therefore,Chuanshan’s poetics of poetics was entered into,and the poetics of Chuanshan’s sentiment was reconstructed from the original theory,situation theory and four-emotion theory.It is difficult to grasp the philosophical connotation of pure poetics.Poetic philosophy,first by the Confucian theory of emotional connotation,emotional germinal and emotional issues of good and evil,restore its poetics foundation of Confucianism.This paper analyzes Zhuangzi and physiognomy in the way of view fusion,and deduces the aesthetic dimension of Chuanshan emotion theory.In aesthetic dimension of Chuanshan emotion theory deduction,Its most outstanding contribution in the history of Chinese artistic conception aesthetics lies in that its artistic conception theory is more influenced by the "nihilistic" realm and the "mysterious" of Buddhism and Taoism,presenting the artistic spirit of ethereality and freedom.It is possible to dilute the kernel of Confucian ethics.After the fusion of artistic poetics and western discourse system,it is possible to deconstruct the profound meaning of literature and art,and render the meaning of plane and nullification.For the double concerns of culture and art development,from the theory of cosmology,life,Gongfu(工夫),examines the realm of dimensions and virtual special history,Buddhism and Taoism in the Buddha’s path on the thought of ontology is" Xuwu(虚无)",on the border of Gongfu(工夫)and transcendence and freedom of view and enlightenment.Chuanshan’s philosophy of "virtual reality" and "consensus" on both ends of operational methods,deconstructs and goes beyond the ontology of Buddhism and Taoism,the outlook on life and Gongfu(工夫)theory,constructed based on the "real" poetics.The poetics is a generalized poetics,humanity and the is an organic whole to heaven,"Guangxin(广心)"and "Yuqing(裕情)",showing his undertaking and aesthetic fusion,ethics and poetic characteristics of the echo of cultural poetics,which is reflected in "Sincerity" is the ideal ethics poetic aesthetic implication.Based on the book of changes,the relationship between heaven and earth and the "heart of heaven and earth" are different forms of Qi(气)dispersing and gathering.From the emotional "sense",there is no "sense"or "sense" of the rupture,life will not be condensed into or gradually reduced,scattered.From this point,Chuanshan put forward the poetic proposition of "material things are not false,they all have the expression of life,and for people,emotions are more obvious,and "maximum emotions".This is derived from the transcendence of "presence" of Buddhism and Taoism by means of the dispersal and accumulation of gas in Chuanshan,and returned to the real existence of human beings.The transcendence of pengshan’s emotion poetics also shows that the pursuit of freedom is different from that of Buddhism and Taoism.The Buddha’s path lays stress on the quietness and wisdom.After the realization of Confucian ethical goals by "Guangxin"(广心),Chuanshan pays attention to the filling and settling of emotions,and keeps and surpasses the ethical goals by filling and settling of emotions.This is a creative interpretation of Confucius’s poetics of "do as he pleases".The emotional connotation of Chuanshan poetics is extensive,which refers not only to feelings and emotions,but also to all psychological activities.His emphasis on "xin mu wei zheng"(心目为政)leads to the intentionality of poetry creation and acceptance.This paper explores the intention selectivity of "meaning","ambition" and "thinking" of Chuanshan.From "meaning" to "ambition","thinking" is the key.The reason why poetry can "Xing"(兴)lies in the infinity of "thinking";"Innocent" is the ethical goal of Confucian poetics.The poetics thought of Chuanshan chongshi,which is opposite to the virtual,attaches importance to the "virtual" and the combination of’xin mu wei zheng"(心目为政)and "Xianliang"(现量).Although it has the discussion of "taking shadow from image",its situational theory is limited by the thought of Hrespecting reality and opposing the virtual",and it has not developed the artistic conception theory including "the virtual reality".His scenario theory lays the foundation for exploring the artistic conception represented by Wang guowei,Zong baihua,Zhu guangqian and Ye lang.The theoretical features of Qi(气)of Chuanshan’s emotion theory and the interpretation of "Shi"(势)objectively restored the poetic tradition of "Qi Yun Sheng Dong"(气韵生动).He creatively uses the dragon as a metaphor for poetry,opening another window for our exploration of ancient poetic art Artistic conception is no longer our only choice to explore poetry.The continuous pursuit of poetics and its form of expression is worthy of further exploration.