A Study On The Category Of Shuye In Chinese Classical Aesthetics

Being officially regarded as a vocabulary of aesthetic nature,"Shuye" first appeared in Sikong Tu’s "Twenty-Four Poetry" of the late Tang Dynasty.As a poetics theory,it has been valued and affirmed by relevant scholars,but whether it can be regarded as a category in aesthetic research has been controversial all the time.The purpose of this paper is to prove the rationality and legitimacy of "Shuye" as a category of Chinese classical aesthetics by means of literature citation and aesthetic investigation.On this basis,the connotation,characteristics,significance,aesthetic practice and other aspects of the category of "Shuye" are systematically excavated and expounded.The beauty of "Shuye" has a long historical origin in Chinese ideology and culture.It was born from Taoist philosophy in the pre-Qin Dynasty,changed from metaphysics to aesthetic spirit in the Wei and Jin dynasties.And it finally became a unique category in the history of Chinese aesthetics after a long time of accumulation and practical expansion of art."Shuye" embodies the view of nature,life and art of ancient Chinese,and it contains a clear spirit of Chinese art.It guides the artistic practice of China to create aesthetic forms and styles of nature,simplicity,ups and downs,superseding and transcendence."Shuye" originally refers to the wilderness,later,two connotations with similar meanings but the opposite emotional colors were extended : one is cursory;and another refers to free and easy.Under the Confucian cultural background,the order of etiquette and music was the highest norm,So,the master preferred “urbane”as the beauty of a gentleman,while Taoist Laozi and Zhuangzi held the opposite view,they emphasized the beauty of simplicity and freedom.So “cursory haste”and “free and easy” gradually became the realistic thoughts and the bond of irrational rules,pursue eternal life and freedom.,as well as releasing personalities.At the time of Wei,Jin,Southern and Northern dynasties,the life consciousness and personality awakening of the scholars were unprecedentedly high,the have built a cultural landscape that spread through the age with souls and bodies.Their madness and wavespractice the philosophical aesthetics of Laozi and Zhuangzi,and put the "Shuye" into the art of life.Therefore,there were such a chapter full of artistic consciousness and aesthetic appeal in the history of Chinese culture.On the other hand,literary theorists and artists have learnt from the subtleties of "truthfulness",what’s more,they also promoted the birth of Sikong Tu’s "Twenty-Four Poetry" by explaining,expressing literatures,and the movement of ink in calligraphies and painting.As one style of the twenty-four distinctive styles in the book,"Shuye" represents a kind of style trend,at the same time,it condense the unique aesthetic culture of China.In Chinese art practice,the style and aesthetic form of "Shuye" are widespread.Starting with Tao Yuanming’s idyll poetries,his view of "Shuye" also have been inherited and developed in Tang,Song,Yuan,Ming,and Qing dynasties in different ways,which combined the truthfulness of the spirit and the quality of nature,then founded a distinctive feature in Chinese literature.Under the influence of Taoist philosophy,along with the artistic practice of calligraphy and painting,music,architecture,character appreciation and so on,the beauty of "open country" has become the dual aesthetic style of the creator and the work,which is a combination of nature,simplicity,ups and downs,and transcendence,and became a unique way for artists to express their spirits and personalities and creative intentions.The category of Shuye includes aesthetic ideas and aesthetic pursuits in ecology,life and art.It contains aesthetic taste,aesthetic ideas,aesthetic thought and aesthetic methods,which is the natural simplicity,alienation,open-minded and out-of-touch.As an important resource of Chinese classical aesthetics,the in-depth excavation of the field category not only makes use of the discourse construction of Chinese aesthetics discipline,but also promotes the netting construction of the world culture,which is also of great significance to the present construction of cultural industries related to the aesthetics.