Chinese Aesthetic Category Theory Of Mind

In modern cultural environment, there is a growing trend that spirituality is overwhelmed by materiality, and appreciation of the beauty is replaced by appreciation of the ugliness in the fields of literature and art, and social atmosphere, in particular. Aesthetic state of mind is advanced in order to return to beauty and achieve happiness with the help of aesthetics. This dissertation aims to discuss the Chinese aesthetic way of thinking, the realm of spirit, and methods of cultivation by selecting some categories of a subject’s aesthetic state of mind, such as "Zi Ran’’(自然),"Jing"(静),"Ling"(灵),"Shi"(适),"Hua"(化)as starting point. It traces the development of Chinese aesthetic state of mind, defines the connotation of categories, compares them with other relative categories, and demonstrates their connections. The study on categories of a subject’s aesthetic state of mind is not only a significant research on the categories of Chinese aesthetics and literary criticism since there is a gap in the comprehensive study in this field other than analysis on some specific categories, but also has important reference value for development of western modern art and artistic theory, and construction of humanity and soul of modern people.The dissertation is composed of eight parts:preface、introduction、five chapters of categories and conclusion. The following is the structure of the dissertation.The preface introduces the trend that spirituality is overwhelmed by materiality, and appreciation of the beauty is replaced by appreciation of the ugliness, especially in the fields of literature and art, and social atmosphere. That is the background of my research on aesthetic state of mind. This part also reviews current research in this field and the logic of my argument.The first chapter is an introduction to the connotation of aesthetic state of mind, its logical development and the turning point in its history of development. It summarizes the general characteristics of categories of aesthetic state of mind, including subjectivity, ontology, derivative, the combination of ways and realm, the combination of life and art.The second chapter mainly discusses "Zi Ran’’(自然),concurrently with "Zhen"(真),"Cheng’’(诚)It mainly contains the historical evolution of aesthetic connotation of "Zi Ran" category, its intuitive and experiencing approach, and takes Tao Yuanming for typical example to explore his aesthetic state of mind of "Zi Ran" which combined his lifestyle and artistic performance. The third chapter is about "Jing", and its relationship with "Zi Ran"(自然),"Wu"’(悟)This chapter is divided into three parts:the first part analyzes the aesthetic connotation of "Jing"(静)category from four logical aspects:"Ding"(定),"Guan"(观),"Jing"(净)and "Du’’(独)；the second part takes Wang Wei for example to discuss the accomplishment of "Jing" in both his aesthetic state of mind and his realm of life; the third part compares and contrasts eastern and western aesthetic contemplation.The fourth chapter discusses "Ling’’(灵)category, also related with "Zhen"(真)category. It includes its origin from sorcery culture, its evolution and aesthetic connotation through its subcategories, such as "Qing Ling"(’情灵),“Ling Qi’’(灵气),"Xing Ling"(性灵)1comparative view between the east and the west, it also discusses inspirational thinking and enlightening thinking, concurrently with related theory such as learning, genius and so on. The artistic expression is achieved by the artists’ conscious activity, which manifests in vivid forms ("Ling Huo"(灵活),“Ling Dong"(灵动)and transforms the real into the virtual.The fifth chapter discusses "Shi" category. It consists of three parts. The first part is mainly on the aesthetic connotation of "Shi Xing"(适性)。ategory. The second part discusses the mood state of renunciation, which includes practical skills and spirit of selflessness. The last part takes Wang Ji, Qian Xuan for example to discuss the lifestyle and realm of life of ancient Chinese, who could obtain happiness and delight from "Shi".The sixth chapter is mainly on "Hua" category. This part discusses changes and creations from the artists’ spirit, the artistic conception without movements, and the purpose of aesthetic education, which aims at people’s humanity and soul. The connotation of "Hua" category is very abundant. There is a considerable overlap between it and other categories which centers around it.The conclusion further points out the practical significance of research on the categories of Chinese aesthetic state of mind and its value and contribution to the world aesthetics, especially in modern times that communications between China and western countries becoms increasingly frequent.