A Study On The Generation Of Hunan Yao Aesthetic Culture

Hunan Province has a large Yao population and rich Yao aesthetic and cultural resources.Most of the current research results on the issue of "Hunan Yao aesthetic culture generation" are general in nature,with a few detailed analyses.A large number of studies have used knowledge from only one discipline,and rarely from multiple disciplines.Many studies simply explain the phenomena and rarely use theories for analysis.Most are analyses of aesthetic representations,rarely combined with historical texts and fieldwork for comprehensive analysis.Hence a study of Hunan Yao aesthetic culture,historically and synchronously,traditionally and modernly,with both field investigation and theoretical analysis,has relatively important academic and practical significance.It is an anthropological pioneering in the sense of aesthetics and an aesthetic contemplation in the sense of anthropology,an exploration of local experience in minority culture preservation,and a profound reflection on local experience.Aesthetic culture is the culture about beauty,the sum of physical products,conceptual systems and behaviors of human aesthetic activities.Hunan Yao has a long history and a wide variety of aesthetic cultures,mainly including Panwang beliefs,language and literature,songs,dances and paintings,ethnic costumes,marriage and marriage customs,etc.The aesthetic culture of the Hunan Yao has obvious characteristics of Gaoshan Yao,with the aesthetic image of the Panwang as the core,evolving a variety of art types such as literature,songs and dances,as well as language,customs and other aesthetic content.Longhui Huayao,as well as Goulan Yao and Qingxi Yao which have been sinicized,also exhibit different aesthetic and cultural forms due to their respective historical and cultural differences.Based on the different influencing elements,Hunan Yao aesthetic culture is divided into internal reasons and external reasons.Internal reasons are the fundamental reason for the unique shape of Hunan Yao aesthetic culture.The Hunan Yao aesthetic culture initially relies on the biological aggregation of Yao genes,and molecular anthropological studies have proved that the Hunan Yao genes have Chu characteristics.The reproduction of ethnic genetic groups gives the Yao aesthetic culture a direct carrier for reproduction and education to achieve cultural "inheritance".Cultural generation also stems from the geographical environment in which they live together.The Hunan Yao have established aesthetic subjects,generating aesthetic needs,achieving aesthetic satisfaction and promoting cultural development in adapting and transforming nature.Externally,Hunan Yao aesthetic culture is influenced by ethnic interaction,economic technology,political system,and social culture.The Han are the biggest “Other” of the Yao,and Yao-Han interaction is the biggest variable in cultural generation.Hunan Yao generates sublime beauty in frequent resistance struggles.They are looking for a new aesthetic and cultural space in the symbiosis and struggle of "HanMingyao-Shengyao".Compared with previous studies that only studied the mural itself,this paper argues that the mural paintings of the Yao Shuilong Shrine are actually a reflection of the economic reality of the Yao who were influenced by Han culture to go down to the mountains to engage in farming and the refinement of social division of labor.The basic framework of the generation mechanism of Hunan Yao aesthetic culture is a cube model with native and instrumental cultural factors as the basic coordinates and cultural identity as the integration path.The paradox of being either close to or avoiding the mainstream Han culture,and seeking a balance among the contradictions is the driving force behind the generation of Hunan Yao’s aesthetic culture.Nowadays,Hunan Yao aesthetic culture is becoming a member of the "cultural industry".On the one hand,the tourism industry,which uses Yao beauty as cultural capital,has obviously accelerated the local economy,while on the other hand,the indiscriminate industrialization has alienated beauty into a means of pleasing the senses.Hunan Yao aesthetic culture has a historical tension between reality and anti-reality,and its unique "pure art field" can serve as a force to "criticize itself".The construction of Hunan Yao aesthetic culture must return to the art practice of Yao as the main body.In contrast to the traditional perspective that ethnic minorities must be the Other,this paper attempts to take the side of the Yao,with the Yao as the "I" and the Han as the "Other," always emphasizing the main position of the Yao in Hunan Yao aesthetic culture.We explore the path of "localization of modernity" to protect Hunan Yao aesthetic culture,including the construction of the field of aesthetic practice,the establishment of Yao’s subjectivity,and the manifestation of the values of the times in Yao aesthetic culture,so that Hunan Yao aesthetic culture can present new vitality and vigor.