The Aesthetic Connotation Of Chinese Ancient Times' Theory Of "Flexible Means"

"flexible means " is an important category of the Chinese ancient aesthetics.Theory of "flexible means" of the verse creations was firstly put forward by Lu Benzhong, a theorist of Jiangxi School of Poetry in Song Dynasty. He defined the connotation of flexible means" explicitly, put forward the standard of"flexible means" and advocated the art state of pursuing a kind of fullness and beauty". At the same time of putting forward the poetic theory of "flexible means", some thinkers proposed "flexible means" in the domain of the Confucianism classics study, claiming to explain the Confucianism classics (or interpret literature work) should adopt the methods and attitudes of not only respecting the "law" but also surmounting the "law" and this has enriched the contents of the ancient times' thoughts of flexibility and aesthetics from a side. After being enriched and developed by literature theoreticians in different times, Lu Benzhong' theory of "flexible means" has owned "adaptability" of methodology. It has surpassed the range of the school of Jiangxi poetry, not only in the verse realm, it has been led to the whole literature art realm and formed special thoughts of flexibility and aesthetics in Chinese ancient times. In the academic circles, up to now, from the whole, the study of "flexible means" in the research of the Chinese ancient times aesthetics, only regarded the theory of "flexible means" as important contents of the research into Jiangxi School of Poetry. However, the universality, connotation and features of "flexible means" didn't get the value and research. Therefore, it has still academic meanings do some research into the theory of "flexible means".This thesis has probed into the following problems: The first, in Song Dynasty, at the same time of poetic theoreticians and poets advocating and practicing the theory of "flexible means", some thinkers also advocated it in the domain of the Confucianism classics study. It deserves research into the phenomenon of advocating the theory of "flexible means" both in the domain of poetry and Confucianism classics. Especially for theory of "flexible means" in the domain of Confucianism classics, what are its contents? Where are its own poetry thoughts? What implication does it bring into literature creation and literature criticism? All these are the new topics.The second, after being enriched and developed by literature theoreticians in different times, Lu Benzhong' theory of "flexible means" has gone into the hall of literature and aesthetics from the poetry and it has owned its "adaptability" of methodology. Yet, theory of "flexible means", as Chinese ancient times' aesthetic thoughts of "flexible means", where do its "adaptability" reflect? The past research is not enough, even some aspect hasn't ever been referred to.The third, "flexible means", as Chinese ancient times' aesthetic thoughts, what's its implication? Where is its aesthetic connotation? What kind of aesthetic thoughts does it belong to? This is a new research topic. Based on it, the researcher firstly puts forward that aesthetics of "flexible means " is aesthetics of creative impulse and also made the initial argument to this.The fourth, as an important subject of Chinese ancient times' aesthetic thoughts of "flexible means", what main features do "flexible means" have? So far, there is no systematic induce. Therefore, the researcher attempts to make an analysis of the first step from several aspects: aesthetic transcendence, aesthetic creation and aesthetic freedom.