The Deduction Of The "Lived" Characteristic In Traditional Chinese Aesthetics To The Contemporary Performing Live Aesthetics

The performing live aesthetics is a development of aesthetics discipline in recent times. With the spring up of mass culture, consumerism and postmodernism, from "aesthetic turning into everyday life "to "aestheticization of everyday life" is becoming the framework of contemporary "Aestheticization". The boundaries between "life"’and "aesthetics" are disappearing. Undoubtedly, the "performing live aesthetics "is standing in the masses’viewpoint and the research of which should look at the aspects relating to people’s daily life. It has many forms which have been filling of our fanciful daily life, such as advertisement, fashion, model show and interior design and so on. However, as far as the aesthetic subject’s accepting psychologies, the performing live aesthetics has a long history which is an echo to the "lived" characteristic of traditional Chinese aesthetics. In traditional Chinese aesthetics, from the aesthetic ideal of Confucianism, Buddhism and Taoism to the traditional Chinese literati and the works of art all presented the "lived" aesthetic characteristic. However, there are many significant differences between the "lived" characteristic of traditional Chinese aesthetics and the performing live aesthetics in recent times. It expresses in a deduction from elegance to vulgarness, harmony to conflict, non-utility to utility and so on. There will be a priority analyses in the contemporary performing live aesthetics while describe the "Lived" aesthetic characteristic of traditional Chinese aesthetics in this paper.The paper consists of the introduction part and four chapters.The introduction presents the reason why the author chooses this topic, summarizes the current research status and clarifies the writing thought of the paper.Chapter one gives a clear summarization of the "Lived" characteristic of traditional Chinese aesthetics though introduce the aesthetic ideas of Confucianism, Buddhism and Taoism. Judging from the analysis we can get a conclusion that the Chinese culture always focuses on "Person" not only external shape but also intrinsic training. In addition, it also has an analysis for the aesthetic characteristic of traditional arts, such as poetry, music, painting and calligraphy. Besides, there is a description of several modernity movements throughout the twentieth century which play the role of connecting tradition and contemporary. Chapter two is the main part of this paper. In this part, the author expounds the blossom situation of contemporary performing live aesthetics. Firstly, it gives a dialectical definition of the performing live aesthetics. Secondly, it makes a description of the contemporary culture environment of the society, including mechanical reproducibility of the works of art, the booming of the Chinese popular culture and industrialization of culture and the rising of consumerism and postmodernism. It also declares that aesthetics has not only been exceeding art but also blending with life, at the same time the aesthetic spirit need a reconfiguration. On that basis, this chapter explains how performing live aesthetics take place. Thirdly, it also shows up the daily performance and significance of performing live aesthetics. It mainly consists of "aesthetic turning into everyday life "and "the aestheticization of everyday life". What’s more, it also includes the aestheticization of the material foundation and self-as-perceiver. Finally, the specific examples including advertisement, film and architecture are given to make a detail explanation of the performing live aesthetics.Chapter three makes criticism and reflection as well as reveals the weakness in the development of performing live aesthetics and its bad influence in core values to the young people. The problems caused by aesthetic extension, such as simulacra, have covered up our real life and entertaining tendency is also a shock to the traditional moral idea. Pointing out that the classic categories of traditional aesthetic such as Grace, Sublimity and Tragedy are disappearing in recent times.Chapter four puts forward three suggestions for the contemporary performing live aesthetics which learns from the traditional aesthetics such as Naturism. Finally, the paper attaches an article relating to the Harmonious Aesthetics which was written by its founder professor ZhouLaixiang while noting that the life itself also has self-adjustment ability to the performing live aesthetics.