Olympics Mascot Aesthetic Research

The esthetic research into Olympic Games mascots refers to the research which, with the Olympic Games mascots as the object of study, the esthetic methodologies and theoretical knowledge as the main vehicle and the esthetic attributes of Olympic Games mascots as the breakthrough point, discusses centrally the esthetic cultural context, esthetic spirit, the esthetic generality, the esthetic individuality, the esthetic form, the esthetic type, the esthetic element, the esthetic function and the esthetic value of Olympic Games mascots. This research also analyzes dialectically esthetic flaws of past Olympic Games mascots and forecasts esthetical trend of the Olympic Games mascots after 2008 in an attempt to widen and deepen the perception and comprehension of esthetical law of Olympic Games mascots, to promote the esthetic creation and appreciation of Olympic Games mascots, to expedite the connection of esthetics of social culture with esthetics of artwork and to better exert its esthetical function in order to add to the prestige of Olympic Games.This thesis is composed of six major parts: the introduction---the history of the study of Olympic Games mascots and the research perspective, method, value and framework of this thesis; the esthetic cultural context and the esthetic spirit of Olympic Games mascots; the esthetic generality and individuality of Olympic Games mascots; the esthetic form, type, element and creation of Olympic Games mascots; the esthetic function and value of Olympic Games mascots; the esthetic flaws and the esthetic trend of Olympic Games mascots. This thesis inquires into the esthetic style and features of Olympic Games mascots from the above six aspects and launches into an overall interpretation of them esthetically, helping people to understand the esthetic connotation of Olympic Games mascots and to increase their esthetic interest in Olympic Games mascots. Simultaneously this thesis does some exploration for the pragmatic study of esthetics and makes a meager endeavor to enrich new connotations of contemporary esthetic culture.The first part, the introduction, mainly studies the history of Olympic Games, the brief history of the researches into Olympic Games, the brief history of the researches into mascots and the present situation of researches into Olympic Games mascots, from which it can be discovered that theses, dissertations or monographs that study Olympic Games from the perspective of pure esthetics have not yet appeared up to now and there exists great research space for monographic study from the perspective of esthetic intension and extension of Olympic Games mascots, which is the premise and the basis of this thesis.The second part mainly studies the esthetic cultural background of Olympic Games mascots research as well as the esthetic spirit that Olympic Games mascots bear. It is believed that the change of the thought of beauty from ontology to existentialism, the change of the center of esthetic study from analysis of essence to analysis of material objects, the beautification of social life and the vigorous growth of technical esthetics are the esthetic cultural contexts that this thesis studies. The esthetic spirit of Olympic Games mascots is mainly manifested in four aspects:mankind in a high harmony with nature, enjoyment of life, novelty of imagination and movement of verve. The third part, the esthetic generality and individuality of Olympic Games mascots, mainly studies what esthetic generalities the Olympic Games mascots possess and what unique esthetic individualities each Olympic Games mascot has. It is believed that the esthetic generalities of Olympic Games mascots can be induced into the following five aspects: the unification of esthetic embodiments and esthetic totality, the unification of the form of beauty and the implication of beauty, the unification of national esthetic sense and human esthetic sense, the unification of the beauty of art and the beauty of technology, the unification of traditional beauty and modern beauty. On the other hand, its esthetic individuality may be divided into five small esthetic individuality categories: the pure animal, the personified animal, the human form, the indefinite form, the multi-species combination, which are separately equal to the art of symbolism, classicalism, romanticism, modernism and Chinese traditional harmony.The fourth part mainly analyzes the esthetic form, type, element and creation of Olympic Games mascots. It is believed that the esthetic form of Olympic Games mascots contains the beauty of nature, society, life, sport and art. The esthetic type the Olympic Games mascots may be divided into four kinds: lofty, harmonious, funny and weird. The esthetic element of Olympic Games mascots includes the esthetic explanation to the species to which it belongs, the visual esthetic sense of physical structure, the coordination of colors, and the comfortable touch of clothing material. The esthetic creation of Olympic Games mascots may be divided into four closely connected links: the brewing of the subject of this Olympic Games, the collection of original material in the whole society, the elaborate design of experts, and the feedback and processing of end productThe fifth part mainly inquires into the esthetic theoretical value and the realistic function of Olympic Games mascots. It is believed that the esthetic theoretical value includes six aspects: opening up a path for the union of artistic esthetics and esthetic sociology, expanding people's actual need for esthetics, enriching the esthetic consciousness and experience, broadening the esthetic imagination, enriching the esthetic emotion, and initiating a new method for the inquisition into the esthetic origin. The actual effectiveness includes four aspects as follows: proposing the new idea, the new pattern and the new tool for the design of artistic images, providing the original subject for the design of animated cartoons, making a good artistic atmosphere for enhancing the national and local overall image, particularly the esthetic image, and providing the image mouthpiece for the creation of economic efficiency.The sixth part, the esthetic flaw and the esthetic trend of Olympic Games mascots, dialectically analyzes past Olympic Games mascots and Beijing Olympic Games mascots together with their estheteic flaws. While there exist esthetic insufficiencies in past Olympic Games mascots in the following aspects, namely national parochialism, grotesqueness and abstruseness esthetic woridliness and mechanical homogeneity. It is believed that there exist esthetic insufficiencies in Beijing Olympic Games mascots in at least four aspects, namely the esthetic confusion caused by the greed for quantity and width, the nondescript caused by piecing together head ornaments, the eisegesis caused by excessive implications, and the oblivion of the mainstream caused by balance and compromise. Then, the esthetic trend of Olympic Games mascots after 2008. is forecast. Whether these forecasts are feasible depends on the unceasing supplement and improvement of men of insight...