Wei And The Activity Of Aesthetic Appreciation In Ancient Chinese Poetics

The initial conception of this paper is aesthetic activities in Chinese Classical Aesthetics. The category of Wei has been chosen because it's communicant with aesthetic activities in diet of the ancients. In Wei and Jin Dynasties, Wei has separated itself from the sound and colour and became a independent category in aesthetics, especially became a vital category of aesthetic appreciation in Ancient Chinese Poetics. This paper studies the category Wei in aesthetic appreciation, the path of it's development that contains it's connotation and characteristic in different Dynasties, and the historical locus that how the category became a vital category. Furthermore, Wei has gradually formed a integrated, systemic,self-contained system with other categories. So the category Wei is one kind of creationary criticism, and shows important aesthetic significance.The first chapter of this paper promulgates that how the category of Wei became an activity of aesthetic appreciation from it's particularity. The gustatory sense of the taste is a mulriple consciousness, and the particularity lies in it's self-contained intentionality which laid the foundation to enter into aesthetic consciousness. In this activity of aesthetic appreciation, the aesthetic subject need to redeploy psychological factors, such as aesthetical attention, perception, intuitive judgment, feeling, imagination and other psychological behaviors. Relied on the activity of Wei, aesthetic subject could achieves the aesthetic experience. The second chapter of this paper would expound that how the Taste form it's abstract meaning, and compare the fates of this category in different culture background. Finally, the paper would compactly introduce the standing of this category in Chinese Classical aesthetics and poetics. The third, fourth,fifth and sixth chapter of this paper would carding the different developmental shape of Wei. In the Wei-Jin-South-North Period, this paper would introduce the object of Wei in three sections. The first one is the extrinsic, formal beauty of poetry which contain diction language. As the philosophical proposition of Yan, Yi, Xiang has been drew the outline in the Chinese Classical poetics, the aesthetical connotation of Wei as an activity of aesthetic appreciation that conveing infinite significance and aesthetic perception by means of linguistic image has finalized the design in the Liuxie and Zhongrong's system of poetics. In the forth chapter of Tang Dynasty, the first section would expound the way that natural landscape enter into poetic creation by the philosophical mode of thinking of watching for images. The second section would introduce the category of Xiang,Yi whose connotation contain the aesthetic features of the image and out of image in poetic language in Jiaoran's poetics system, which has became the aesthetic object of Wei. So the wordless interest and hidden meaning of poetic language has became deeper content of Wei in Jiaoran's text. In the Song Dynasty, the chapter will introduce the relationship of Wei with Poetics development, the difference in poetry and landscape painting and the category of Qu by the propositions of recent poetries is too tough to chew, there is a picture in Mojie's poetries by Wei, and there are erratic interests in the poetries by ShuWei. The forth section introduce the category Hanyong by Zhuxi's proposition that the methods of reading The Book of Songs is reading carefully over and over again and Shuwei, and the inherition and development with Wei. The fifth section will discuss the aesthetic essence of Song poetries-Xingqu, which had changed the situation of Xiang as the aesthetic essence, as a result, the way of aesthetic appreciation has changed by Miaowu. In the Yuan, Ming and Qing Dynasties, the development of Wei had been declined, Yuanhaowen attached importance to Transcendent language in his comment on poetries, and the use of Wei in his comment inherited thepoem theories of Sushi, Huangtingjian, Weitai of Song Dynasty. Meanwhile, the relationship between feeling and landscape had been brought into the content of Wei as an activity of aesthetic appreciation by Lushiyong's proposition, and the successive significance of the relationship of image in Song Dynasty is obvious. It's indicated that Image has been the aesthetic object of Wei, and the speech models has been thorough in Chinese Classical aesthetics.