Research On The New Ideology Of Aesthetic Education In The Late Ming Dynasty

Though representing obvious progressiveness of the time, the ideologies of Aesthetic Education in the late Ming Dynasty is also possessed with certain internal contradictoriness and concerned with many conflicts and fights among different schools; Thus, it's difficult and complicated to research. For that reason, the writer has chosen to focus on the New Ideology of Aesthetic Education to research and discuss, with the aim of a relatively precise master of the new quality of the ideology that time. Having the Aesthetic thoughts of Li Zhi, Tang Xianzu and Yuan Hongdao as the main research subjects, the writer will analyze and sort out specifically the main ideas of the three artists in anesthetic education thoughts, and finally elucidate the modern impact of the New Ideology of Aesthetic Education.Part One takes a macroscopic view to analyze the new quality of the New Ideology of Aesthetic Education in the late Ming Dynasty:the spirit of Naturalism, the direction of Plebification, and the principle of Hedonism. Advocating natural disposition, emotion, and spirit, the New Aesthetics reflects more than enough that people have been aware of the natural characteristics of human nature, and highlights the open-mindedness and the spirit of directing people to pursue freedom of the Aesthetics. The New Aesthetics has also confirmed and promoted the status of the popular arts, which plays a more instructing function and a more important role to teach people to be creative than such traditional literary genres as poetry or prose, and so on. Thus, the aesthetics is accepted by the common people in the way in which the orientation towards the common people and the practical function are highlighted. Against the moral enlightening function on which the traditional aesthetics focuses, the New Aesthetics tends to pay more attention to the function of being aesthetically joyful. The education of aesthetics is no longer to demarcate people according to some authoritative dogma, but, in the principle of hedonism, to nourish and edify people's character and human nature unconsciously through pursuing the artistic enjoyment and flexibility.Part Two specifically and thoroughly analyses the inner meaning and characteristics of the New Ideology of the Aesthetic Education thought of this period through case studies of Li Zhi in the ideological field, Tang Xianzu in the traditional opera, and Yuan Hongdao in the literature field. Based on the above analyses, the paper also comes to a induction and conclusion to generalize some main features in common of the New Ideology of Aesthetic Education. In the analysis of the essence of Li Zhi's anti-traditional aesthetic education thought, the writer mainly explicates Li's ideological feature of the beauty of the "heart", specializing the aesthetic principle of abiding by the "childlike innocence", the aesthetic education material view based on "best articles", and music education of "Qin reflects one's thought". Tang Xianzu's romantic aesthetic pursuit displays his thought of considering "love" as beauty, by specifically elucidating the aesthetic basis of "everything is love" and the aesthetic education ways of "happy and sad without any reason". The aesthetic education view of Yuan Hongdao focuses on the "popularity" as beauty and depicts vividly a roll of picture of the life in the late Ming Dynasty which represents the brand-new view of that period. Of Yuan's view the practical form of his advocating "popularity", his value orientation towards the "common people" is mainly analyzed. Taking concluding and discussing the aesthetic ideology as the point of penetrating, Part Three elucidates the modern value of the New Aesthetic Education. While the pursuit of the spirit of naturalism and the highlights of the aesthetic feature of valuing the characteristic development in the New Aesthetics pave the way and enlighten the modern multi-dimension selections, the orientation towards the "common people" of the New Ideology of Aesthetic Education can be highly referred to the modern construction of a harmonious society.The innovative points of this paper lie in its uniqueness in selecting the topic and the novelty of the contents. As for the research method, the writer combines school study and case study, individual conclusion and general development rule of the society. Therefore, a relatively objective and scientific conclusion is reached. The objective of the paper is to find the gap and relativity between modern and classical Chinese Aesthetics by seeking the means and mode through which the classical Chinese Aesthetic Education take out some of its significant transitions during its development course. Though at the primary stage of the research of this issue, the paper still plays a role in highlighting the new quality of the Aesthetic Education and outlining the Aesthetic Education in late Ming Dynasty, laying a favorable foundation for later research on Aesthetic Education of that period.