Study On The Theory Of "Wu Se" In"Dragon-Carving And The Literary Mind"

As the most systematic and academic work among the Chinese ancient literary theories, The Literary Heart and the Carving of Dragons, has always been studied by scholars on its theories and aesthetic thoughts. Based on the chapter of "Wuse" in The Literary Heart and the Carving of Dragons, with the purpose to make an overall and profound illumination on Liu Xie’s "Wuse" perspective, this paper selects one of its literary theoretical categories "Wuse" to make an illumination. Besides the introduction, this paper’s body consists of four parts.In the introduction, the present research status on "wuse" is introduced. In this part, on one aspect, considering the category of "wuse", analysis and summary have been made on illuminations on the category of "wuse" in the academic circle since the modern times, mainly includes the understanding of the concept of "wu" and "se" from their meanings and part of speeches; exploring the changes of word meaning of "wu" and "se" from their sources; researches on the perspective of "wuse" from the aesthetic aspect, etc; on anther aspect, analysis and summary of the results of researches on the single chapter of "wuse" have been made.In the first part, the formation of the category of "wuse" has been stated. From the diachronic perspective, the forming factors of the concept of "wuse" and treatments on "wuse" made by scholars before Liu Xie have been introduced. The forming factors of the category of "wuse" include philosophical and cultural background, social and realistic factors and literary creation practice. Then from three aspects, the perspective of "wuse" has been illuminated, one aspect is the general definition of the category of "wuse" made by Liu Xie; another is Liu’s unique aesthetic establishments, those illuminations are mainly on "emotions aroused by objects","description of objects should evolve emotion","inspiration from things and expression of feelings"; and finally based on Liu’s perspective of "wuse", this part analyzes the social and cultural background of its formation. The very mention of "sentiment" theory in the Pre-Qin days and interpretation of Confucian classics by confucianists in Han Dynasty combine with aesthetic illuminations in Wei Jin Southern and Northern Dynasties, have provided theoretical sauces for the formation of Liu’s "wuse" perspecitive.The second part tells about the theoretical constitution and critical practice of Liu’s "wuse" perspective. The theoretical constitution mainly includes:the literary ontology which based on nature, the analysis of the creating theory of Liu’s "wuse" perspective which grounded on Liu’s "inspiration from things and expression of feelings" theory and "affection between human being and nature" and his natural writing style of "emotion comes when someone has leisure, and the wording should be concise". Finally, from the perspective of criticism and appreciation, this part analyzes Liu’s view of literary criticism of "emotions remain even after the ending of ’wuse’".The third part studies the aesthetic characteristics of Liu’s "wuse" perspective. His perspective absorbs the thought category and cultural implication of "miao","dao","ziran","qing" and "you" in the classical aesthetics; and also, combined with the theory and practice on Chinese classical literary creation; it has given deep connotations and aesthetic value to "wuse". This part will discuss these from the following three aspects:the clever beauty of "Body content is wonderful,work in secret with";the nature beauty of "Do not add carved cut, curve write carefullly"; the cruise cheerful beauty of "Love is to give, and to such as answer".The fourth part tells the influence and significance of Liu’s "wuse" perspective. This perspective has profound and multi-level impact on generation after generations. There are mainly three schools benefit from Liu’s perspective, one school has more improved "sentiment" theory, which is represented by Zhong Rong and Jiao Ran; the "feeling and setting happily blended" theory by Wang Fuzhi; and Wang Guowei’s "realm" theory. The relation between literary creation and natural scenery, the law of literary creation and many issues that were stated in the chapter of "Wuse" by Liu Xie has realistic and practical value on the construction of Chinese modern literary criticism.