Theory Of Game In Chinese Mordern Aesthetics

During the late nineteenth and early twentieth century, a mordern artistic theory of game has emerged in China, under the pressure of salvation and enlightenment.This atricle is trying to analyze this kind of theory in the next three charpters. The first chapter summarizes the category of "game" in Chinese traditional aesthetics, and introduces how the the western asthetic theory of game were leaded and spreaded in China during the late ninteenth and early twentith century. The second chapter analyzes the dorctrine, chratcters and influence of the entertainning theory of game mostly representede by Li Boyuan and Mandarin Ducks and Butterflies School, which takes art as game activities, emphasize the satisfication of pepeole's emotional desires, and close the gap between readers and autors and texts by adopting plain words, creating new novele styles and taking advantange of mordern media. The third chapter analyzes the aesthetic theory of game typically represented by Wang Guowei, Zhu Guangqian, which agree with that art originated in the game and the aesthetic experience is non-utility.Although these theories were not conducive to realizing art's positive influence on the social reality, they made a great contribution on promoting the awakeness of individual's subject consciousness, and the transfering from traditional aesthetics to modern aesthetics.