Shitao Of The Art Main Study

The opinions about the Chinese aesthetics are widely divided, unable to be decided which is right. The orthodox research of West and the aesthetics research of China in the 1980' are closely related with the "knowledge" and they're approaching the scientific researches, hi order to "seek truth", this kind of research must strive for the methodology, and it makes the rational noumenon appear by thinking and reasoning. On the contrary, the philosophers of China are engaged hi "seeking value", and the kind of research makes the morality show in the way of enlightenment by education and consciousness. Therefore, the tradition of no clear division of function between beauty and value are formed. In recent years, aesthetics study is involved in the politics and the culture, so the clear and definite concept about the aesthetics can't be obtained all the time. This thesis considers that the marrow of the Chinese aesthetics hides in the traditional art forms such as painting, calligraphy and so on. The thesis illustrates it with the painting theory of ShiTao. By studying the evolution of the Object of the art, we can return the Chinese aesthetics to the original condition. The paper points out the developmental course of "I" is also the process of the connotation of the Chinese aesthetics manifests itself gradually. The full text expounds the four sets of connection, including: "I" and the ancients, "I" and the nature, "I" and the painting creation, "I" and the works of the art. The "I" pays close attention to the real appearance of the perceptual life and the clearness of the existence itself, so we maintain the characteristic of the Chinese aesthetics is the beauty of existence itself, that is to say, it's a harmonious state formed of the individual and the world, this is also be called a "universe state". It's a "nature" state taken shape by mixing the subject and the object, and it does not portray the character of the individual, while enters the life and merges into an organic whole.