A Study On The Subjectivity Of The Aesthetics Of Zhu Guangqian

Zhu guangqian,who organically established a aesthetic system of himself,which reconciles the Chinese conventional culture and modern western psychological theories in virtues of his erudition,is absolutely one of the best aestheticians with huge fame in 20th century in China.Based on several distinct perspectives,the paper focuses mainly on the "subjectivity" of aesthetic theory of Zhuguangqian,what’s more,on the reevaluation of the academic values about the objects and position of that theory,by means of the perspective of "subjectivity".The paper is divided into four main parts with approximately 60,000 words in total.The introduction consists of literature review and the interpretation of"subjectivity".Generally speaking,the study of Zhu guangqian in land falls into four periods with four strategies of study,such as the comparative study and the study by stages.These strategies,however,have few concerns on the certain characteristics of the aesthetic theory of Zhu guangqian,although each of them has its distinctive advantages.Subsequently,the paper majorly researches on the" subjectivity" of the aesthetic theory of Zhu guangqian,which is one of the most obvious qualities of it.Subjectivity,to put it honestly,as a concept that derived from modern western philosophy and aesthetics with the deep inclination of humanism,has not been described explicitly till now.The paper,as a result,primarily defined it as a condition in which the subject gains a better status against the object,involving mainly the representations like self--benefiting and creativity of subject.In accordance with the concept of-"subjectivity",the subjectivity aesthetics can be understood as the one based on the aesthetic subject,whose study starts from the subject and regard it as the end as well.The first chapter is the static analysis of the subjectivity of aesthetic theory itself-of Zhu guangqian in general,and the representations are as follows:Firstly,subject serves as the start point of the study of aesthetics of Zhu guangqian,which can be proved from the truth that the psychological conditions of the aesthetic subject is the origin with which the following study of Zhu guangqian on aesthetics began,and such a strategy of aesthetic study had always been sustained by Zhu guangqian without radical change,although Zhu guangqian altered his approach of psychology of aesthetic study to that of philosophy in 1950s.Secondly,subject plays the role of basing point in the process of establishment of aesthetic system of Zhu guangqian.,which means that the major ideas of aesthetics like the sense or essence of beauty were expounded around the aesthetic subject,For example，his view of the sense of beauty implies that the formation of all the aesthetic experience owes to the aesthetic activities taken by subject.What’s more,his idea of the essence of beauty suggests that the question "how to judge an object as beautiful or not" belongs to humankind,and that also reveals that the aesthetic theory of Zhu guangqian as a whole is closely connected to subject without any expectations.Thirdly,subjects is the purpose or end of Zhu guangqian’s aesthetic study,in deatil,the enlightenment and improvement of subject,such as the cultivation of one’s taste and the expansion of thought,is the ultimate goal of aesthetic research of Zhu guangqian.The second chapter makes a dynamic comparison between the aesthetic theory of Zhu guangqian and that of Cai yi,Lizehou and Zong baihua in order to take the study of subjectivity of aesthetic theory of Zhu guangqian further.Roughly speaking,the difference between the aesthetic theory of Zhu guangqian and that of Caiyi is akin to a distinctive recognization of the function of subject in aesthetic activity.Zhu guangqian reckons that the dominant factor of aesthetic activity is aesthetic subject,whose apprehending toward the object finally leads to the essence of beauty and the resource of the sense of beauty,while Cai yi holds a totally different argument in which the aesthetic activity of subject serves merely as the reaction toward the object with no positive creation.Both of Zhu guangqian and Li zehou agrees to a relation simultaneously contains subject and object in aesthetic theory,however,such a consensus seems fragile in deed because what highlighted by Zhu guangqian is the creativity and self-benefiting of subject,which stands in a vivid contrast against Li zehou for his focus is the another side of the above-mentioned relation-object,or the social practice of human beings which depends on the process of objectification.Besides,Both Zhu guangqian and Zong baihua concentrated to the revealing of the humanism and the human values in the study of their aesthetics,which in turn makes the aesthetic theories of they two to be subsumed under subjective one.The third chapter rejudges the main ideas of the aesthetics of Zhu guangqian under the perspective of subjectivity.The paper argues that the aesthetic theory of Zhu guangqina deserves many praises for its interests in aesthetic subject in its object and position of research.First,the close attention paid in the ability of subject,which also exists as the main object of Zhu guangqian’s aesthetic research is not only the inheritance of the inclination of subjectivity of modern western aesthetics,but also continues the tradition of emphasizing the temperament and character of subject in Chinese Culture.Moreover,the setting of subject as the object of aesthetics is beneficial for the recovery of the quality of humanism of aesthetics in consideration of the academic context of China.Second,the position of subject of aesthetic study of Zhu guangqian is superior to that of modern western aesthetics.On the one hand,Zhu guangqian appeals for the harmonious development of all the functions of subject,which is different from the partial stresses on the feeling or reason of empiricism and rationalism.On the other hand,his aesthetic study was devoted to shaping the view of life optimistic and positive,which contains more significance in the dimension of daily life compared with that of Schopenhauer and Nietzsche in which the life was filled with pessimism to some extent.