Rethink On Imitation Theory Of Art

The imitation theory of art is the beginning of western literary aesthetics, which is the earliest theory about the nature and source of art. "Imitation", which serves as a term concerning art and its spirit, has permeated through every corner of western culture and almost become an unconscious deposits along with history, Although the imitation theory of art has virtually functioned as the synonym of literature and art. the exact meaning of itself is very complex and sophisticated. In the early ancient Greece, philosophers varied greatly in terms of their own philosophical point of views make the illustration of the imitation theory of. The main objective of this thesis is to classify the exact underlying connotation, the most striking feature of which lies on the fact that the author takes advantages of the basic methods of cultural anthropology and theoretical achievements to explain the historical connotation of The imitation theory of art on a way of science and positivism, there fore, uncovers the primitive cultural nature of The imitation of art in the horizon of anthropology. During argumentation, the analysis on the meaning of "Imitation" is appeared through the whole thesis.The thesis consists of three charpters, and chapter one is preface.Chapters two makes a survey of the philosophical advances according to the historical development, and analyzes all kinds of representative The imitation theory of art and the sense of imitation again, during which, The imitation theory of art, held by the very important philosophers such as Heracleitus, Democritus in the flourishing period of philosophy of Greece, have been demonstrated and discovered the complexity of them as a kind of deviations mainly from their philosophical point of views. In the times ranging from Rome, Middle ages, Renaissance, Enlightenment, Romanticism to western Marxism, They either are treated as realistic factors, or hidden at all, or acknowledged as a word with various modification on it, even talked together with impression regardless their contradictory relation. However, notogether with impression regardless their contradictory relation. However, no matter how sophisticated the situations are, two empirical conclusion are definite: First, the logical pattern for the nominal of art formed in the ancient Greece has been used and dominated 1 light of philosophical methodology. Secondly, "Imitation", as a concept, has referred to arts all the time in western culture. Finally, the conclusion of this thesis depends on the clear explanation of the Greek word "Mimesis" and implies that the right approach to the question is the way of anthropology.Chapter three talks about the nature of the imitation theory of art in the vision of anthropology. First, the author puts the definition of the Greek word "Mimesis" from W-Tatar Kiewicz and makes certain the meaning natural of it. Then the thesis raises the fact that anthropological method is superior to the dialect method in respect of science, and made a summering retrospection on the accomplishments of anthropology in the 19th. In this section, the main importance has been attached to the results made by James-G-Frazer on sympathetic magic, including the analysis on of the grotto fresco and the primitive sculpture of Paleolithic. The motive of sympathetic magic has argued that the imitation behaviors during the ritual source of culture in terms of the birthday of arts. Finally, the paper analyzes Plato's Imitation theory again. And considers that the ignorance of the primitive culture background in Plato's time is the early crime, which heads to the first confusion about the imitation theory of art. So the conclusion can be put like that "imitation" is a kind of the primitive ritual, along which sympathetic reasoning has been followed.