| Mr.Zhou Laixiang is a famous contemporary aesthetician of China.His aesthetic thought is called "harmony and freedom aesthetics",and those academic ideas surrounding his thought system are called "school of harmony and freedom aesthetics".This dissertation studies the principal characteristics and connotations of his "harmony aesthetics and its school",Mr.Zhou's innovation in contemporary aesthetics of China,his role and position in China's history of aesthetics;unique contributions,theoretic limits and influences of his theories,etc.This dissertation makes a detailed depiction in six parts.The part of introduction surveys the formation and development of Mr.Zhou Laixiang's aesthetic thought of harmony and freedom in four phases.The first phase refers to the time from research to formation of harmony aesthetics before the 1960's;the second phase refers to the gradual formation of harmony aesthetics before the middle of the 1980's;the third phase refers to the surpassing of harmony aesthetics before the end of 1990's;and the fourth phase refers to the further development and consummation of the system from the end of the 1990's till now.Furthermore,this part makes a brief survey on the status in quo and existing problems of studies in the aesthetic though of harmony and freedom.The first chapter depicts the theoretical origin of Mr.Zhou's aesthetic thought of harmony and freedom in respect to Chinese and foreign cultures,aesthetic phenomenon and aesthetic theory etc. The first is his aesthetic thought's absorption from Chinese culture.Mr.Zhou points out that,the thought of "zhonghe" is equal to the thought of "harmony",and is the soul of the Confucianism,the Tao and the Buddhism in ancient China:the Confucianism's moral standard,the Tao's inaction and freedom and the Buddhism's heart stillness,which are penetrated and communicating mutually,are the direct origins of Mr.Zhou's thought of harmony art and aesthetics.The second,Mr.Zhou absorbs and digests the western culture from three respects:based on the Marxism and from the epistemology of Jean Piaget and the western history of "ideas of the beautiful",he summarizes and concludes the inherent characteristic of the beautiful as harmony;from Kant's analysis on the beautiful and art,he concludes that the aesthetic essence of art is principally based on sentiment;using the modern dialectic thought from Hegel and Marx for reference,he constructs a net-like circle system which is mutual,crossing,dynamic and open;from the modern and post-modern art of the west,he summarizes the aesthetics categories of the ugly and the absurd,expanding the extension of sublimity. Finally,by absorbing the past thoughts,he constructs an aesthetic system of harmony and freedom.The second chapter briefly depicts the specific connotations of Mr.Zhou's aesthetic thought of harmony and freedom from three respects:the first,the aesthetic thought of harmony and freedom applies unique study method.Mr.Zhou concludes that,the method of dialectic thinking is good at longitudinal dynamic historical observation but in lack of transverse static coexisted analysis,and the method for modern natural science is a transverse,static and coexisted thinking mode.Based on the dialectic thinking of Marxism,the aesthetic system of "harmony" attempts to absorb the advantages of the two and abandon their defects,highly combine the longitudinal and transverse,the dynamic and static,the diachronic and coexisted into one,and finally form an unique methodology in a structure of subjective dialectic thinking mode and with an axes of relative thinking and characteristics of logic reasoning and historical consciousness.The second part depicts the core of aesthetic thought of harmony and freedom-theory of aesthetic relationship,dissertates their connotations,and points out that it makes up the one-sidedness of the subjective school and objective school and deepens the practice aesthetics to a certain extend.The third part dissertates specific embodiment of the beautiful as harmony in Chinese and foreign history,and Mr.Zhou's new explanation on aesthetic categories.The third chapter discusses the theoretic core of Mr.Zhou's literary aesthetics.Mr.Zhou's contributions to literary aesthetics are from the method of dialectic thinking.He concludes that the art is the representation of feelings,and the literary aesthetics is,with psychological sentiment as media, a highly comprehensive study in the combination of philosophy,sociology,ethnics,survival and its practice as a whole.He concludes that the art doesn't take concept as media but tends to an indefinite concept,is purposeless hut in compliance with a certain social purpose,and is free aesthetic consciousness,etc.At the same time,Mr.Zhou studies the classification of art forms vertically,and divides the art as per two standards,the first is to apply the quantitative analysis in modern natural science to divide the art into reappearance art,representation art and comprehensive art;the second is to apply the qualitative standard to divide art into fine art and sublimity art,in the former,the subjective and objective,the appearance and representation,the reasoning and willing,and necessity and freedom tends to harmony in opposition,and in the latter,those factors tends to opposition in unification.Finally,Mr.Zhou transversally studies ante art composing and specific connotation in art activity itself.The fourth chapter analyzes the unique views on the eastern and western aesthetic thoughts. Refers to the study on China's aesthetics,first of all,Mr.Zhou chiefly edits and partly writes A General History of China's Aesthetic Culture(six volumes),which surveys the aesthetic culture in details in each period from the Pre-qin period to the twenties century as per the different characteristics in ancient times and modern times according to the evolving clue of his harmony aesthetics.Secondly,Mr.Zhou takes the study paradigm of leading thought,grasps the evolving skeleton of leading aesthetic ideal and art thought and thereby drives the movement and evolvement of other secondary categories,by this way,highlights the principal thought of each period,and at the same time possibly shows the features of the times while the leading thought is highlighted.Refers to the study on western aesthetics,he chiefly edits The Leading Western Aesthetic Thought,in which,Mr. Zhou,with the method of dialectic thinking,outlines the western history of aesthetics from the ancient harmony to postmodern absurdness to and from the sculpture in classical beauty to the art in postmodern art,making this book as the most complete general history of western aesthetics for the western aesthetic evolvement from ancient to modern.Refers to the study on comparative aesthetics between China and the west,Mr.Zhou applies dialectic logic as well,pays attention to historical materiality of thinking,and compares in respect to the macroscopic and microcosmic.His aesthetic comparison doesn't exclude difference from common points and common points from difference, combines the dynamic and static into a whole,at the same time closely links to the culture,to reappear, in historic analysis,the logic process of aesthetic thoughts of China and the west,and finally finds out a new and contemporary-mode aesthetic structuring and establishes a relatively complete system.The part of conclusion summarizes the academic contributions,significances and theoretic limits of Mr.Zhou's aesthetic thought of harmony and freedom:the first is to summarize Mr.Zhou's academic contributions in ten respects;the second is to depict the significances contained in the aesthetic thought of harmony and freedom in respect to theory and reality;the last is to objectively point out some theoretic limits of the aesthetic thought of harmony and freedom.
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