On The Aesthetic Judgment Of Pre-Qin Silk Culture

The study of important artifact cultures in the ancient and modern social life of ourcountry and the excavation of their aesthetic factors is an important dimension of contemporaryChinese aesthetics research. To reveal the universal aesthetic sense of human beings and thelaws of ancient ethnic aesthetic activities by studying concrete artifact cultures, is moreempirical and more difficult than pure research. Through a systematic investigation of pre-Qinsilk culture and its aesthetic culture, this thesis offers relevant thinking and discussion on manyaspects of the pre-Qin aesthetic perception.The first chapter through to our country ancient times prehistoric silk culturalarchaeological‘, and then to ponder the way human aesthetic consciousness of prehistoricproblems and discussion of the time domain mainly concentrated in the neolithic period. Basedon current has unearthed and silk is closely related to the three categories of unearthed objects(silk weaving content, silkworm grain content, silkworm replica content) on detailed analysis,and inquiry into the human aesthetic feeling happened three major factors：number sensegeneration, line feeling generation, stereo sense is generated. Then the system analysis andsilkworm fake silk burial objects, through to the jade silkworm, gold silkworm of cultural relicsrelated literature analysis, the comb, and discusses the sacrifice of the silkworm used jade, theuse of evidence and the form level and technology level of aesthetic, and correct the academiccircle on the‘gold silkworm related misunderstanding.The second chapter of the pre-qin period silkworm from the witchcraft, religion, politics,morality, etc to differentiate into its hidden in aesthetics, and the correlation is discussed. Andthen to the religious aspects of the‘silkworm god’worship, and etiquette‘silkworm li’andfolk’silkworm common’for relevant comb, and discusses the silkworm by wu to god, in thecourse of the beauty aesthetic differentiation and independent of the process. The ancients to‘silkworm psychological state is actually changing, but simply summarized as：from’wu‘eraof YanShang’fear‘to the western zhou dynasty’god ceremony‘era of’respect’, again to thespring and autumn period‘the ritual’The Times‘real respect’, was eventually‘benevolence’ change. In the process, its aesthetic drifted from wu, god, was to independence.‘The wire’level,this part emphasizes to focus on the things of the grain, and points out the prehistoric crockeryornamentation, shang period of bronze decoration association, and on its own beauty of grainand the correlation discussion.The third chapter focused on‘silk yue’the pre-qin important art form, and literature,cultural relics from the two aspects of investigation, it is concluded that the use of silk strings,started about YanShang, thriving in the spring and autumn period this conclusion, and from‘silk’material for silk of the nature of the influence of music style, and the academic circle onthe style of music silk definition proposed another view that silk joy of beauty basically reflectsin RouMan beautiful, gentle, mournful beauty sad three aspects.In general, this article selects the pre-qin period‘silk’culture, and through to thewitchcraft, cultural relic, writing, art, folk all aspects such as way, through the concrete objectof study to multidisciplinary method, multi-angle thinking, to explore the human aestheticfeeling and the problems of the culture of silk and differentiation and aesthetic factors such asindependent, and finally, locate in the pre-qin silk and art to explore the relationship betweenthe aesthetic. Neither hope for precise inquiry, also don’t expect the grand narrative, but tryingto grasp abstract in concrete, in the micro in understanding the macro, so may be more close tothe truth of history.