Luxury The Genuiness

Primitive and childish aesthetics, as an aesthetic form in the aesthetic category, is rarely refered to in the previous aesthetic publications. It has attracted more and more interest due to its prominent position in modern and contemporary art. Related researches reveal that innocent and immature aesthetics has rarely been fully studed as a project, though it has been mentioned or discussed in a certain aspect or another. For this reason, this paper intends to make a systemetic study of innocent and immature aesthetics.This paper is devided into five parts. Chapter 1 is mainly concerned with a general introduction to the background and significance of the research, the present situation and the initiative. Chapter 2 identifies the definition, the two forms, the aesthetic psychology and the aesthetic features of innocent and immature aesthetics from the perspective of aesthetic style. Chapter 3 explores the first form of innocent and immature aesthetics, i.e. original innocent and immature aesthetics, involving primal savagery beauty of primitive art, the simple and innocent beauty of folk art, the naive beauty of children's drawing, the innocent and immature beauty of the innial state of art (represented by Wei and Jin landscape paintings). The various aesthetic patterns are examined from the expression and the inner spirit of aesthetic style, evolving the same or similar artistic languages of different artistic forms. The artistic expression of innocent and immature aesthetics, integrated with genuine artistic emotions, reveals a certain intention and thinking of the creator's works. Chapter 4 analyzes the advancded form of innocent and immature aesthetics, i.e. the innocent and immature beauty of mature art, focusing on the simple-natural of the Chinese literati paintings and modern western paintings'conscious pursuit of innocent and immature aesthetics. Starting with the humanistic feelings of Chinese scholars as special groups and Chinese traditional artistic spirit, this study reveals the deep origin of the aesthetic pursuit of the Chinese literati paintings which corresponds to the inner spirit of Chinese traditional artistic persuit, e.g. that the elders'mind will return to that of a child, and that adults will not lose their utter innocence. Different from the Chinese literati paintings, modern western paintings'pursuit of innocent and immature aesthetics lay particular emphasis on artistic expressions. When the traditional realistic approach develops to a certain extent that can hardly be exceeded by followers, the return to human childhood art appears. The return, though formally similar to primitive art, exceeds innocent and immature aesthetics of primitive art in a greater sense. Chapter 5 revealed the causes and practical significance of innocent and immature aesthetics. Aiming at return and also exceedance, genuine artistic emotions are human beings' eternal pursuit of art through the ages. Innocent and immature aesthetics is only an expression of genuine artistic emotions. In the end, this paper states the guiding significance of this study on contemporary art creation in reality, the necessity and the feasibility.