A Study On The Aesthetics Of "Qing" In Wei, Jin And Six Dynasties

“Qing” is an important category in Chinese classical aesthetics system,which represents the cultural spirit and basic value orientation of the Chinese nation.This paper selects the “Qing” of the Wei,Jin and six dynasties as the research object,not only because the “Qing” had independent aesthetic value in this period,but also because “Qing” is the perceptual presentation of the mainstream ideology and aesthetic consciousness of the Wei,Jin and six dynasties,and the comprehensive expression of the individual spiritual purport,emotional experience and aesthetic hobby of the scholar-bureaucrat,which reflects the style of the times in this period.It embodies the most fundamental ideological appeal of people in this period and is a kind of general aesthetic taste.This aesthetic taste is fully reflected in the field of literature and art,from content to form,from artistic conception to style,“Qing” constitutes the basic value orientation of the aesthetic spirit of Wei,Jin and six dynasties.The purpose of this paper is to break through the static description of the“Qing” aesthetic style and the “Qing” aesthetic phenomenon in the Wei,Jin and six dynasties,follow the principle of the unity of history and logic,and investigate the most fundamental internal logic and psychological roots of the“Qing” aesthetic interest in the Wei,Jin and six dynasties.On this basis,it combs and studies the micro and macro development of the “Qing” aestheticideal,and touches the deeper philosophical implication hidden behind this development.Humanistic spirit and ideological appeal,so as to more deeply understand the aesthetic connotation of “Qing” in Wei,Jin and six dynasties.The full text is divided into four chapters.The first chapter starts with tracing back to the ideological origin of the consciousness of “Qing”,analyzes and excavates the consciousness of “Qing” in Confucianism and Taoism on the basis of the original canon of Confucianism and Taoism,so that it can not only reveal the ideological origin and cultural basis of the formation of aesthetic ideal of “Qing”,but also more completely display the historical development track of the aesthetic phenomenon of “Qing” in Wei,Jin and six dynasties.The second chapter discusses in detail the establishment of “Qing” as aesthetic taste in the Wei,Jin and six dynasties,in which the most fundamental thinking logic,psychological root and cultural spirit are mainly carried out from three aspects: the evaluation of the characters,metaphysical thinking mode and cultural field of idle talk.In a word,“Qing”,as an aesthetic taste,is closely linked to the mainstream ideology of Wei,Jin and six dynasties,and embodies the most fundamental ideological demand of people in this period,that is,the thinking of “nature and the Confucian ethical code”.Coupled with the awakening of individual subject consciousness and non-utilitarian aesthetic consciousness,“Qing” broke free from the shackles of “comparative code of ethics”mode of thinking,and wascharacterized by strong value judgment and exclusion.The moral concept of other sex is transformed into the comprehensive expression of individual spiritual purport,emotional experience and aesthetic hobby of the scholar-bureaucrat.This change was first sprouted among the evaluation of the characters,and then established by the mainstream value of metaphysics,which became a kind of aesthetic taste which had a wide influence on the artistic writing and personality spirit of the Wei,Jin and six dynasties.“idle talk” is the most direct cultural medium in which metaphysics affects literary and artistic creation,and the aesthetic interest characteristics of “Qing” are finally formed and reflected in this cultural field.The third chapter is the main part of this paper.By using the research methods of category history,this chapter examines several main aesthetic categories of “Qing”,such as “Qing Jun” “Qing xu” “Qing sheng” “Qing li”and so on.These categories can not only show the stable meaning,that is,the basic value pursuit of take “Qing” as a beauty,but also express different aesthetic meanings,forming a systematic aesthetic category group with“Qing” as the core.Through the combing and research of “history” in these categories,this paper analyzes the various expansion forms and aesthetic connotations of the aesthetic ideal of “Qing” in the field of literature and art.On the one hand,it is possible to clarify the development of each “Qing” 's beauty form from the micro level,and understand the key role of the different philosophical thinking modes and the mental state of the scholar on theaesthetic ideal formation of “Qing”.On the other hand,from a macro point of view,we can also see the overall development and change of the "Qing" aesthetic ideal in the Wei,Jin and six dynasties,that is to say,it generally shows a development trend from heavy to light,from real to virtual.This is related to the change of literati mentality and social environment,but it is more related to the development of philosophical trend of thought and people's understanding of the problem of “nature and the Confucian ethical code”.It can be said that during this period,literati and officials advocated and understood “Qing” in the discussion of “nature and the Confucian ethical code”.The fourth chapter briefly discusses the aesthetic consciousness and characteristics of “Qing” in Tang,Song,Yuan,Ming and Qing dynasties,from which we can see the development and evolution of the aesthetic ideal of “Qing” in later generations.The “Qingzhen” “Qingqi” in Tang Dynasty,the “Qingdan” “Qingkong” in Song Dynasty,the “Qingya” “Qingyuan”,“Qinghou” in Ming and Qing dynasties,all of which continued the aesthetic ideal of “Qing” in the six dynasties,and completed the change according to different spirits of the times.