Chinese Classical Aesthetics "sad"

On probing into the art works of classical literature, we can find a special art experience: deep feeling of grief is outpouring from a lot of potrey and ancient prose, which is about inquilinousness of life, about nothingness of prosperity and splendidness, about interior flux of sadness. At the same time, this outflow is continuous, and manifests a great characteristic of aesthetic experience in Chinese ancient Aesthetics. This experience can be conceded as sadness, because a kind of deep feeling of grief which can not be get rid off is included. Sadness is based on human individual presence, and is also individual experience of Being which is mostly comprised of doleful experience of life and which is sublimed in ancient literature. Then, in this way, it can be consideredd as a special aesthetic experience. This paper will discover the art experience from Chinese ancient literary works, sufficiently describe the phenomenon, and mainly discuss the sad consciousness of Shijing, Chuci, the period from Han Dynasty to Jin Dynasty and the period up to Tang Dynasty, finally try to present a special status of aesthetic consciousness in ancient China.How interpret, from point of philosophy-aesthetic view, the special ancient aesthetic experience—sadness? The prevenient ancient aesthetical theory expose its limit. Reviewing the basis of sad consciousness, this tractate traces the source into original individual existence. That is from the visual angle of ontology. Man is first as an individual, his existence is finite. Experience of sadness which depends on finite individual's sense is a kind of ontological experience about life in the world. However, Chinese ancient cultural tradition is mainly composed of morality, which tries its best to slip off this aspect. Chinese mainstream of culture considers man's being as morality attribute, that is, morality connecting with social ethic is the very truth of man's being, and further more, takes it for granted that morality attribute is inherent. With the view of traditional moral ideal, whole ancient culture presents a brightly glad hue. In fact, individual existence is difficult to be closed., which is not diverted by cultural main tendency. As an individual existence, man's non-moral existence is prior to his moral being. The experience of former is just sadness. Only in this way, wecould find why, in the ancient China's culture tradition mainly pointing to morality, deep feeling of grief comes into being. In the Chinese culture and physolophy-aesthetics, in conclusion, moral existence gives birth to reception of enjoyness, non-moral existence gives birth to reception of sadness. The former is apparent and is the mainstream, the latter is latent deep-seated experience of individual existence. The interweavement of enjoyness and sadness makes up of the whole of ancient China's aesthetic consciousness.