| there are many aesthetic thoughts in Chinese traditional esthetics and Miao is one of them. The aesthetic of Chinese nation is unique, which can be reflected by Miao to some degree. The content of Miao is profound and complex. Since put forwards, Miao has undergone a long constant development and evolution before being a philosophical aesthetic concept. Miao is not an isolated concept but an aesthetic idea closely related to image, artistic conception, Wu and evolving to a series of aesthetic category and concept that impacting significantly on Chinese traditional aesthetics.This paper is constituted by four chapters. Chapter one traces the derivation of Miao and combs the historical evolution of its aesthetic category. In the pre-Qin period, Miao is mainly reflected in its philosophical sense; in the period of two Han dynasties, the aesthetic characteristics of Miao begins to stand out; in Wei Jin and the six dynasty period, Miao developed into a mature aesthetic category and is fully manifested. Chapter Two explores the conditions for the evolution and maturity of Miao to the aesthetic category. Its maturity is closely bound up with the special social status and ideology and culture of the Wei Jin dynasties. Old ritual system collapse along with the formation of a new social thought, resulting in the liberation and consciousness of human and arts. People call for new aesthetic requirements and Miao meets the prevailing aesthetic pursuit to some extent and thus been generally recognized. Chapter Three analyzes the aesthetic representations of Miao in poetry, drawing, calligraphy, and music in Han Wei and the six dynasty period with classic examples and theories. Chapter four discusses the role Miao plays in aesthetic creation and the influence of Miao on people’s aesthetic experience. Chinese aesthetics, obsessed on the pursuit of the aesthetic realm of Miao, regards Miao as the aesthetic ideal, and Miao reflects the uniqueness of Chinese Aesthetic. |
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