The Research On The Aesthetic Connotation Of Hengyangyan Imagery

Literary images are the deliberate integration of subjective ideas of the authors and the objective objects,so that the literary world can be a unity of the subjective concepts and the objective images.From the aesthetic point of view,this unity is the aesthetic image.And what is behind it is the subject's aesthetic connotation that goes beyond words which is inspired by the objects within the context of specific time and space."Hengyangyan" is one of these aesthetic images.The image of "Hengyangyan" is created by the poets who image Hengyang as the subjectively envisaged hometown of the objective wild geese that are on their ways of migration.They deliberately use the illusory“settlement”of the objects-the wild geese to highlight the actual "drift" of the subjects,and to highlight the main bodies' grief over the passing of time and their homesickness.This collective deliberate confinement of the poets is seemingly to endow the homesickness to "Hengyangyan",however,the actual image of "Hengyangyan"expresses their desperation of being forced to be away from home.When this despair accumulated to a certain extent under a certain background of time and space and encounter the sally point of "Hengyang",a "space-time withdrawn aesthetic consideration" occurred irreversibly in the subjects' subconscious,which lead to the epiphany of the truth of life,the connotation of "Tao".And the aesthetic return was achieved.Because there are rare relevant research results from the aesthetic perspective on the image of "Hengyangyan",the introduction of this article mainly focuses on the research results related to "Hengyang","Yan" and "images",and introduces the main structure of the article so as to achieve the aesthetic significance of the study on the image of "Hengyangyan".The main body of the article is divided into four parts:the first part explored the cultural roots of generation of the image of "Hengyangyan",and tried to find out the literary association between the image of"Hengyangyan" and Hengyang by carding the geographical and historical background of Hengyang.After that,the images of "Hengyangyan" are classified according to different literary attributes,and the literary images of "Yan" derived from its original meaning,which have two different forms,are analyzed.In the second part,sequential researches were conducted according to the different development stages of "Hengyangyan".In the pre-Qin Dynasty period,the"Hengyangyan" was in inceptive stage.The original meaning of "Yan" which represents the grieve over the passing by of time and the internal tragic tradition of the Hengyang city are the core components of the aesthetic connotation of "Hengyangyan".And when it came to the Han and Wei Dynasties,the connotations of "Hengyangyan" were officially formed,and they represented the nostalgia,homesickness and the wandering of poets.Afterwards,The Sui and Tang Dynasties witnessed the maturity of the connotations of "Hengyangyan".The connotation of this stage focused more on the poets' sorrow of relegation and the longing for returning home.On basis of illustration of the formation and the development of connotations of "Hengyangyan",the third part demonstrated that the connotation of "Hengyangyan" was an important part of the ancient Chinese literary connotation group,and it was an important medium of poets' emotional expression.In fact,"Hengyangyan" is an inevitable origin for emotions excavated by poets who were relegated under the influence of the Chinese orthodox culture.The fourth part took the aesthetic point of view to analyze the implied aesthetic connotation of "Hengyangyan".It was both a reflection of poets'fear for the desolate southland,and the representation of the sorrow of relegation and the longing for returning home.Besides,it was also the poetic embodiment of poets' homesickness and nostalgia.But in essence,it should be a real reflection that the subject found the inner peace in his heart.Throughout evolution of the connotation of the "Hengyangyan",the implied connotation was not limited to the sense of powerless factually felt by the aesthetic subjects,but also the self-salvation-type aesthetic transcending.The objective fact of being away from home led to an aesthetic gap between the culture and the soul of the subjects,which further cleansed and enlightened the subjects and helped them to deepen the understanding of life and experience the real meaning of life.As for the people of out time,it can also be served as a new aesthetic reference.