Study On Return Of Traditional Chinese Aesthetics In New Period Novels

New period novels influenced by western culture are innovative in variousdegrees in accordance with the Western model in writing style, narrative patterns,language use and other aspects, enriching Chinese contemporary literature. But thewesternized literary style does not meet our conditions, developing and falling fast.Even so, we can still see the shadow of traditional Chinese aesthetics, which is stilldisplaying its own charm in the materialism cross-flow of consumer time.This paper tries to search for the return of traditional Chinese aesthetics throughanalyzing and summarizing the various schools of new period novels, and makes asummary of its aesthetic characteristics and analyzes the reasons for its return throughsome typical articles of several major schools of new period novels.In the first part of the paper summarize its aesthetic characteristics and analyzethe traditional aesthetic signs of recovery from "wounds" and "reflection" fiction,which has traditional Chinese aesthetics, "unyielding", "benevolence" calls, and tryexplain the reasons for recovery is a writer's return to the traditional aestheticunconsciously.The second part mainly summarizes the aesthetic characteristics of the "Rootnovel", and concludes Confucianism, Buddhism, Taoism, Buddhism and othertraditional aesthetic characteristics of the regression in "Root novel". And it analyzesthe cause of regression is the author's consciously self-regression trend, reflecting inregression of name and subject.The third part summarizes the main aesthetic characteristics of "new realistfiction" and "pioneer novel", reflecting Chinese traditional aesthetics of the "wholeCheerfulness," Lao's "survival of consciousness", and analyzes the reasons of suchreturn is the author's conscious adjustment of the main regression.The forth part summarizes the aesthetic characteristics of "traditional realisticnovel", which is a reproduction of cultivation and life. It indicates the return is due totwo-way self-regulating of writers and readers and the result of mining culturalheritage values.Through the analysis the paper sums up the vitality of traditional Chineseaesthetics. Contemporary is a fusion of ancient and modern times, which is the same strain of China's traditional culture not through completely succession but selectively.We can enjoy the beauty while the writers create new roads of literary creation byself-regulation and the recipient achieves a higher aesthetic level by self-regulation.Return to the traditional aesthetic of our literature is significant for the developmentof China's national culture.