The Acceptance Of Croce's Aesthetic Thought In The First Half Of The 20th Century In China

The 20 th century expressionist aesthetics deeply influenced the development and evolution of Chinese modern aesthetics,and Croce was an important representative of the expressionist aesthetic theory.His aesthetic thoughts on artistic independence,spiritual philosophy,intuition and expression were directly or indirectly.It inspired the construction and development of modern Chinese aesthetics.Chinese aesthetics in the modern sense is the result of collision,exchange and infiltration in different social,cultural,and academic backgrounds.In today's era of carrying forward the spirit of Chinese and American studies,we need to reflect on the development of Chinese aesthetics in the process of Sino-West exchanges.Inspired by this,this thesis aims to provide a reference for the continuation of contemporary aesthetics by studying the spread and influence of Croce's aesthetics in China.After the “May 4th Movement”,Croce's aesthetic thoughts gradually poured into China.By the end of the 1940 s,this kind of aesthetic thought had directly affected domestic Hu Menghua,Teng Gu,Lin Yutang,Liang Zongdai,Deng Yizhe,Zhu Guangqian,etc.This article begins with the following seven chapters.The first chapter starts from the historical facts and discusses the cultural atmosphere of Croce's aesthetic thoughts when it was introduced into China.China is now in the “discovery of people”and “expressionism prevails”,and Then I sorted out the situation of Croce's aesthetic thoughts in China's evaluation,translation and debate.The second chapter analyzes Tenggu's “intuition” on the basis of Croce's “intuition” and establishes his own “internal experience” in art and advocates “the life of modern people”,that is,cultural construction.The third chapter first examines the factors that hide the aesthetics of Klineshi in Lin Yutang's early thoughts.Later,due to the times and personal factors,Lin Yutang accepted the spread of Croce's aesthetics,which criticized the bad phenomenon of the literary world at that time,returned to the traditional Chinese“Spirit” concept,and established a “Integration concept” that pursued “living personality” and “art of life”.The fourth chapter first discusses Liang Zongdai's Has a deep Chinese traditional knowledge system,attaches importance to the tools of art communication,and then describes Liang's “artistic conception” to understand Croce's“intuition”,and then discusses the beam to make up for Croce's one-sided view of artcommunication tools.The fifth chapter discusses Deng Yizhe's absorption of Croce's“spiritual philosophy”,making the “painting and calligraphy theory” inherent in China's native language a complement to the Crocr's “painting and calligraphy theory” and also discusses the influence of Croce's “historical resurrection” view on Deng's“circumstances view”.The sixth chapter discusses the inspiration of Zhu Guangqian's potential Croce aesthetics and the influence of Chinese traditional knowledge system.From the aspects of aesthetic activities,art creation theory and appreciation of art works characterized by “intuition”,China's modern aesthetics is constructed in the true sense.The seventh chapter starts from the pros and cons,discusses the essential reasons for the acceptance,transformation and alienation of Croce's aesthetics in China and the significance of this acceptance status to the current aesthetic discipline construction.