Aesthetic Interpretation Of The Concept Of Emptiness And Substantiality In Twenty-four Poetry Style

Twenty-four Poetry is an important aesthetic document and poetic theory in ancient China.Although there have been many studies on it by the predecessors,the results of the special study on the concept of the "Emptiness" and "Substantiality" in aesthetics are rare.The category of the "Emptiness" and "Substantiality" is the meta-category and core category in Chinese traditional aesthetics,and it has a strong universal interpretation function.Therefore,this article attempts to expand the "Emptiness" and "Substantiality" concepts and related claims in the "Twenty-Four Poetry" and extend it to other art fields to make a universal aesthetic interpretation.In addition to the "Introduction" and "Conclusion",thesis consists of the following three parts:The first chapter mainly expounds the connotation of the concept of the "Emptiness" and "Substantiality" in the Twenty-four Poetry.Since the category of the "Emptiness" and "Substantiality" existed as a philosophical category at the beginning,this chapter first explained its connotation from the level of philosophical ontology and phenomena.And separately interpreted it as the meaning of "being" and "nothingness".Secondly,explain its connotation from the level of artistic works.And they are respectively interpreted as the meaning of "real form" and "virtual charm" of the image of the work and the meaning of "quality" and "empty spirit" in artistic style.Finally,explain its connotation from the perspective of art acceptance.And they are respectively interpreted as the "Substantialit" in the elephant and the "Emptiness" in the image.The second chapter mainly studies the relationship between the "Emptiness" and "Substantiality" in "Twenty-four Poetry".The concepts of the "Emptiness" and "Substantiality" are not in the same position in the twenty-four poems.From the perspective of the creative subject and the aesthetic subject,it is the intangible,abstract and vain thing through the tangible,concrete and intuitive and sensible image.This shows that the relationship between the "Emptiness" and "Substantiality" are that the "Substantiality" leads to the "Emptiness".The "Emptiness" depends on the "Substantiality".Without "Substantiality",there is no such thing as "Emptiness".However,in both artistic creation and aesthetic activities,The Substantiality is not an end in itself.The "Emptiness" in the works of art is its purpose.Therefore,in both the artistic style and the artistic conception,the "Twenty-four Poetry" emphasizes that the works of art are "emphasizing the illusion".And this relationship between "Emptiness and Substantiality" has universal aesthetic significance.Chinese art,calligraphy,architecture,opera and other art emphasize the combination of "Emptiness" and "Substantiality",and emphasize "Emptiness".The third chapter mainly studies the related ideas in the "Twenty-Four Poetry" on how to introduce the relationship law of "Substantiality" to "Emptiness" and emphasize the "Emptiness".First,it requires the creative subject to have the artistic cultivation of "the power of the inner force" and the creative state of "empty and quiet".Second,in the process of artistic creation,it requires that likeness in spirit is better than in shape and shade is appropriate and show concealed phase line.The two requirements of the twenty-four poems on artistic creation are also of universal significance.In painting,calligraphy,architecture,music and other art categories have also extensive and deeply reflect.