A New Explanation Of Jiang Kong-yang's Aesthetic Idea

There appear"ending of Practical Aesthetics"in china, facing the clamor of"ending"in the whole world, such as"ending of history""ending of ideology""ending of philosophy""ending of art"and so on."ending of Practical Aesthetics"mainly targeted at a mode of thinking of subject-object dual opposites. So the important topic of modern aesthetics is how to regard this mode of thinking. Jiang Kong-yang is one of Chinese contemporary Aestheticians, whose practical aesthetics consist of theories about essence of beauty, aesthetic feelings and aesthetic artistries. Jiang Kong-yang has begun to avoid this mode of thinking of subject-object dual opposites. He uses the generative thinking as methodology of his aesthetic theory. And his aesthetic study also has begun to from look for the only beauty essence to go to open system; he use mode of thinking of dialogue as a new ideas of his aesthetic study. All these changes and new ideas have gained good effectiveness, which can be used for reference for the modern aesthetics. And this is the important message that development in the modern aesthetics. Jiang's great value of aesthetic idea is his different mode of thinking, his latent surpassing consciousness and his open aesthetic thinking. As a result, Jiang's aesthetic ideas have important academic value and research values.This article emphasize"mode of thinking". And this article attempts rethink the problems of the modern aesthetics through a case study of Jiang Kong-yang. Then based on this starting point, this thesis hope to resolve all kinds of perplexity and query, and give a new thought for the modern aesthetics.Chapter one gives a general introduction to Jiang's academic experience and his aesthetic idea changed before and after processing. The paper tries hard to summarize to total aesthetic ideas of Jiang Kong-yang and illuminate the changes and development of his aesthetic idea. According to the research content continued to deepen, Jiang's aesthetics can divide to three periods. The early period mainly study objective social practice from 1950s to Culture Revolution before. The metaphase aesthetics mainly study aesthetic relations as the logical starting point of aesthetic idea in the early 1980s. The later period, the generative-creative aesthetics form a great leap, which not only insisted on the creative aesthetics of Marxist practical materialism and promoted the development of practical aesthetics, but also practically and realistically probed into aesthetics with multi-approaches and on multi-levels so as to construct the latest form of generative-creative aesthetics from mid and late 1980s to 1990s. Chapter two emphasizes Jiang's practical aesthetics. The generative-creative aesthetics stresses the relationship between man and reality in regard to aesthetic objects, the constant creation of beauty in regard to aesthetic essence, the contradictory unity on multilevel in regard to aesthetic perception. The article think the thought of productiveness is a modem philosophical thought, which argues against the as a abstract thing existing outside human beings. It thinks that we have a real world in which we live, concept of regarding objective world. So our standard of knowledge, the value and significance of our activities should be based on the real world, and be explained by this world or by the history of this world. Jiang's aesthetics reflect this mode of thinking. The"generative"is an important concept in the Jiang's Beauty and Aesthetic Sense theory. In his theories, some aesthetic propositions, such as the relationships while man appreciating the beautiful is the start point to research into beauty", "beauty is the reflection of human nature", "beauty can only be found in creation", "beauty is an image of freedom", show that, in his theories, Jiang sums up and develops the practical aesthetics represented by Li Ze-hou at his age.Chapter three analyzes Jiang's Chinese traditional aesthetics, western aesthetics and his comparative aesthetics. In this foundation, the paper gives prominence to characteristic of Jiang's west-china aesthetics. In this paper, the author analyzed"music and literature","virtues and beauty", "nature and humanity"in Jiang's Chinese traditional aesthetics, and"human and nature","beauty and art"in Jiang's western aesthetics. Jiang Kong-yang has made great contribution to comparative aesthetics of Chinese traditional aesthetics and western aesthetics. He believes Chinese aesthetics and western aesthetics are different. Western aesthetics emphasized relation of beauty and true, advocate harmonious and spiritual freedom. But Chinese aesthetics emphasized relation of beauty and virtues, like"Nature and Humanity"ideology and natural freedom. Chapter four analyzed major accomplishment and historical role of Jiang's aesthetic idea, for make clear Jiang's aesthetics characteristic. In the Jiang's aesthetic study, the dialogue thinking is a major mode of thinking and this mode f thinking has distinguishing feature alone. The m dialogue thinking breakthrough the mode of thinking of subject-object dual opposites and find out merits of all kinds of schools. At the same time, Jiang Kong-yang use right methods which make his aesthetics full of powerful vitality. And what's more, Jiang's aesthetics influence a lot of young scholars. The most influenced persons are Zhu Li-Yuan and Zhang Yu-neng. However, all theory can't flawless. Jiang's aesthetics also have limit, this is related to his historical context.In substance, the article choose"mode of thinking"as a idiomorphic clues. Around"mode of thinking", the paper try to rethinks between china and west, and try to discuss his aesthetic ideas from new angles. Thus, this article is intended to serve two purposes. One is in accordance with Jiang's aesthetics original intention, the other is there have a new point to look upon his aesthetics. This is the principal thinking and the main ideas of this article.