The Theory Of The Pre-qin Chule Aesthetic Orientation

Chu Yue is a Southern music flower which was bred in Jianghan plain by theancient Chu people in Pre-Qin Dynasty. The affectionate songs, melody chime bells,and wild dancing etc, all the music forms deeply stir up each aesthetic cells ofpeople with its fantastic presentation. What’s the charm? I think, to illuminateaesthetic orientation of the Chu Yue in Pre-Qin Dynasty is the key to seewhat’s behind it. Thus, this text takes Chu Yue as the research object, its purposelies in revealing and analyzing deep reasons behind the explanation of aestheticorientation of Chu Yue. I think, aesthetic orientation implies in art forms, sound andbehavior activities, like Carl Jung’s " prototype" which is unconscious, it alwaysaffects and guides Chu family each person’s aesthetic psychological structure, andthen determines the formation of music presentation.This article has three chapters to discuss and illuminate.The first chapter will be based on the predecessors’ study, which can betterprovide us a clear picture of the development of Chu Yue with the display ofvarious periods of historical literature and material relics,--unearthed or handeddown musical instruments, and related vessels music image and music dancing data.With presenting the longitudinally historical context and horizontal the artisticforms, clearly showing the historical process and development phase of Chu Yue infour periods can provide us historical facts, it can further grasp the Chu peopleunique music aesthetic orientation. The second chapter is the key part, it explains Chu Yue’s aesthetic orientationfrom four aspects. First,“Love" is an aesthetic start. Second,"Real",aestheticattitude. Third," Strange",aesthetic meaning". Fourth," Sorrow”, aestheticexpression. Love is the life start point and power of Chu Yue. Real aesthetic attitudecan make Chu Yue talk with its true heart. In the situation of catalyst, Chu peoplewere orientated to use “strange" and" sorrow" to express themselves. Therefore,four aspects constitute a relatively systematic organic structure; it dominatespursues and options in art practice of Chu people, thus, it shows from the emotionalmusic presentations.The third chapter analyzes the deep foundation and condition behind the ChuYue aesthetic orientation from four aspects of the factors, the geographic,witchcraft, thinking, history. Natural geographical conditions provide Chu Yue’sdevelopment material base and nourishment; The tradition of witchcraft and theoriginal thinking supply the formation of Chu arts’“real”,“strange” and “sorrow”aesthetic consciousness with critical spiritual characteristics; from historical factorsspeaking, Chu family in its historical process experienced two historical turningperiods, it inevitably lead the development of Chu people and Chu Yue’s ultimateperformance.