On The Study Of "Haofang" As An Aesthetics Category That Means Unfettering Because Of Plentiful Inner "Qi"

"Haofang"("bold and unconstrained") belongs to an aesthetic category with unique connotation and the national characters in the Chinese traditional culture and aesthetics, reflecting one kind of positive vigorous aesthetic consciousness and holding an important position in humanities and the field of the literary arts of the Chinese ancient times.From ancient times till now, the research on it are generally confined to the domain of"Ci"poem, but few researchers have conducted study into its development of the earlier period and deep intrinsic connotation and implication,and nobody has study it from the point of view of the category comprehensively.This paper is divided into two parts with two major emphases: From an aesthetic point of view of noumenon categories,the first trys a systematic and comprehensive exploration of"Haofang"as an aesthetic category on all aspects, including its development and the evolution of history, its fundamental thought and spirit, the dialectic of philosophy, the poetics contents and the synthesis of the internal structure, the performance of literature and art, the characteristics, etc.With the vision of ancient Chinese poetry, the second focuses on the the major theoretic problems of"Haofang"and"Wanyue"("婉约","graceful") ,and the related problems of"natural color"("本色")and"neutralization"("中和"),thereby establishing the value ,the status in the ancient Chinese poetry and aesthetics of"Haofang"which providing a useful reference to the Chinese nation to establish a new aesthetic ideal. This thesis falls into ten parts:The introduction discusses the origin of this paper and the status of ancient Chinese aesthetics of"Haofang", the summarizing of the prevenient studies ,the logical starting point of the study, clarifies the methods and logic thoughts of the paper.The first and the second chapters mainly illustrates the formation and evolution of"Haofang"."Haofang"germinates in the period of pre-"Qin"dynasty, laying a foundation of Chinese traditional culture. It is the outcome of the social etiquette system strengthened and decayed gradually, which constrains the nature of human being."Fang"is developed firstly and embodied in the thoughts of"Lao-Zhuang"philosophy, and then the development of"Hao"is influenced by the Confucianism——especially its thoughts and spirit of social ideal and positively facing social existence and living."Haofang"developed gradually in the"Wei"and"Jin"dynasties, in which times people's self-awareness awakened initially. It obtained an obvious development and embodiment in the literary arts in the"Tang"dynasty through the fermentation of the"Southern and Northern"dynasties and"Sui"dynasty. In"Song"dynasty,"Haofang"developed into an aesthetics category which especially embodied in"Ci"as a literature style and gradually matured, but it did not ever hold the orthodox school position in human's aesthetic consciousness and was often repelled by the legitimate aesthetic consciousness.In the"Yuan"dynasty, the literary works of"Qu"with aesthetic characteristics of"Haofang"takes up the mainstream status."Qu"itself, as one literary form, has an aesthetic characteristics of"Haofang". With the decline of poetry, which mostly embodies the subjective expression of their emotions directly at the end of feudal age,"Haofang"declines partly because of the bloom of drama and novel. Additionally, its decline results from the more and more conservative thoughts as well as the lack of the creative spirit in the Chinese feudal society's evening.The third chapter mainly elaborates the spirit of the fundamental ideas, the dialectic of philosophy and the poetics of"Haofang". The spirit of the fundamental ideas means the positive realm of life from the mutual complementation between confucianism and taoism which absorbed their strengths and overcomed their shortcomings,and aimed at actively involved in real life.The spirit of the dialectic of philosophy means the departure and distortion of the aesthetic consciousness to the beauty of"Zhonghe"at the night of Chinese feudal society,which much have lapsed from the energetic and positve spirit of Yizhuan's aesthetics of Confucian in pre-Qin dynasty. The spirit of the poetics means the poets can complain in their works concerned about the oppression and repulsion to"Haofang"in the traditional poetics whose ideal and characteristics are the beauty of"Wenroudunhou"("温柔敦厚")under the aesthetic consciousness whose features inclined to limpness, negativity and static,and the maturation of"Haofang"and its opposing to"Wanyue"is a key tache of this course.The fourth chapter mainly discusses the meaning boundry,the connotation and the synthesis of"Haofang". In terms of its meaning boundry,"Haofang"has both the broad sense and the narrow sense, and embodies a narrow sense as an aesthetic category which core connotation is unconstraint. The broad sense of"Haofang"is the representation of sublime,which links with the other sublime categories forming the style of sublime and becomes the core of them after"Haofang"has matured a category. As an aesthetic category,"Haofang"has the meaning of intrinsic spiritual level, which has the embodiment of the people's revolt and surmounting to the decayed etiquette system, the meaning of artistic expression level which has the embodiment of the people's surmounting to outdated rules and relative truths, the meaning of the style level which has the embodiment of surmounting of"Haofang"to"graceful and restrained"and"cocinnity"."Haofang"is formed by"Hao"and"Fang"according to the aesthetic rule of"Zhonghe",and this result had been caused by two facters of aesthetic rules and the Chinese traditional cultural spirit. The creating of"Haofang"may illustrates a flow of"ideal"("志")(including the course of"individual sentiment"→"collective sentiment")→"Qi"("气") →"Hao"("豪",a plenteous state of"Qi")→"Fang"("放",the expressing of"Qi").The accumulation of people's intrinsic"Qi"which is caused by their ambition and ideal is the subjective reason to produce"Haofang",and the objective reasons are mainly the region, the society, the time, the mood and other material factors——liquor is involved in particular.The fifth chapter mainly discusses the representation in the literature and art of"Haofang"and its characteristics of aesthetic style.The beauty of"Haofang"mainly centralizes in the domain of poetry,painting and calligraphy. As an aesthetic category,"Haofang"has three main features: a clear and strong mental characteristics of the main body; grand and abundant internal and external vigor state; directly and thoroughly expression of one's mind and the manner.The sixth chapter mainly discusses the differentiation of"Haofang"from the other correlated categories.The differences between"Haofang"and the beauty of"Zhonghe"mainly focus on that"Haofang"is one of the energic and positive kind of the latter which inherites from Yizhuan(《易传》). The differences between"Haofang"and"gallant beauty"especially lies in that"Haofang"is one kind of beauty with the most subjective spirit.The differences between"Haofang"and"sublime"mainly are that"Haof ang"could be displayed directly in the external form by the mainbody when"sublime"only could be felt in the hearts of the human beings,and the creation root of"Haofang"is the main body's ideal and it is a crystallization by the unique Chinese traditional cultural characteristics of mutual complementation between confucianism and taoism.The creation root of"Sublime"is the mainbody's fear of the external world, which resulting for the thinking of the fate and nothingness, ultimately reaches to a transcendence between"limited"and"unlimited". The mainbody of"Haofang"gets own spiritual realm upgrading through his/her actively intervention of the real social life,and the mainbody of"Sublime"often obtains own spiritual realm of sublimation through the tragic destruction of him/her. Comparing both of them comprehensively,"Haofang"has much reality and"Sublime"often gives people a strong spiritual shock while little change in real life.and"Haofang"has more reality. The differences between"Haofang"and"romantic"(here mostly refering to"romanticism"in west) especially lies in that as a literary ideas the later has the different content and historical status with"Haofang".The core idea of"romanticism"is individual liberation, and its mainbody the bourgeois finally overthrew the feudal system and became the ruling class, so"romanticism"has a specific historical content and historical position, which only flourished in the early nineteenth century with several decades of time."Haofang"is a kinds of expression that based on the reality of the mainbody's strong awareness and social responsibility as the center for change and innovation, and in ancient China it never get out of the feudal system and its ideology's control,undergoes the whole history of feudal society and has more vitality and basis in reality.The seventh and the eighth chapters mainly studies several main theoretical problems of Chinese poetics of"Haofang", which are basically produced after"Haofang"becoming a category after the Song Dynasty and closely linked to"Wanyue". The six aspects of the following studies of the two chapters bases on this problem,and the pionts of view are:"Haofang"is the breakthrough and development of"Wanyue";"Haofang"may own the strongpionts of"Wanyue"and the latter cannot own the former's because confining to the view that"Wanyue"is Ci's orthodox school or true qualities,it is very clear if we study the Ci production in history;"Haofang"and"Wanyue"are all Ci's true qualities,and"Haofang"is also the only true qualities and orthodox school in"Qu"("曲")of"Yuan"dynasty but not the"Wanyue";it is cannot come into existance debating"Haofang"is not Ci's true qualities or orthodox school with"Haofang"is a kind of Ci like to the Poem,reversely only with a"broad sense of poetry"("大诗学",that means poem,Ci and Qu are all one of the phase forms of poetry) Ci can develop truly and deeply and exalt its literal and thought bourns;the theory of dichotomy of"Haofang"and"Wanyue"has very important sense,in the past some scholars are not cognizant of its special contribution that considering it is too simple to Ci's styles and ignore its key meaning to open out the maturation of"Haofang"as a category;as an inner spirit"Haofang"innerly promotes the style change coures of poetry to Ci and Ci to Qu,and at any course"Haofang"has its special characteristic and plays an irreplaceable role.The ninth part mainly discusses the modern significance of studying"Haofang"with a macro-perspective of national reconstruction of aesthetic consciousness."Haofang"has an inherent necessary relation with the Chinese people's aesthetic rebuilding of the total direction and the renaissance of culture in the new stage and period, and its effect will not be replacable. The new age of China needs to establish a positive and aggressive aesthetic sense that giving priority to"beauty of masculinity"("阳刚之美")in order to promote the nation's whole innovation and development,and the spirit kernel of"Haofang"is the spiritual basis for the cultural revival of Chinese nation. It is also the foundation of critically inheriting the Chinese traditional culture and the precondition of creating a new Chinese literary arts in the new stage and period. It has a very important significance to people's development, making them reach to a higher and perfect state.