Study Of The Han Dynasty "Melancholy Beauty" Thought

"Melancholy beauty" is one of the aesthetic tendencies of ancient Chinese literary creation and appreciation.The tradition of expressing sadness in literary creation has long existed,but "melancholy" as an aesthetic consciousness was only formed during the Two Han Dynasties.This thesis takes the music,music literature and music theory of the Han Dynasty as the research objects,and explores the formation and development of the idea of "melancholy beauty" in the Han Dynasty.The thesis is divided into three parts,namely introduction,main text,and conclusion.Among them,the introduction mainly includes the research status,research methods,and innovation points of the idea of "melancholy beauty".There are five chapters in the main text,which discuss the theoretical laying,formation and deepening process of the Han Dynasty’s "melancholy beauty" thought,the expression of "melancholy beauty" in the Han Dynasty,and the influence of music,literary creation and theory on the Wei and Jin Dynasties.The concluding part is a comprehensive summary and evaluation of the Han Dynasty’s idea of "melancholy beauty".The first chapter discusses the theoretical preparation of the Han Dynasty’s "melancholy beauty" ideology,focusing on the ideas of Huainan Zi and Sima Qian,and discusses the concept of "sad sound" in the Western Han Dynasty.Generally speaking,the view of "melancholy" in the middle of the Western Han Dynasty was emotional rather than rational,and Huainanzi denied "melancholy" from the moral and institutional level,but unconsciously acknowledged the practice of "melancholy";while Sima Qian’s proposal of "writing a book of anger" affirmed the expression of "melancholy" from the theoretical level,which was a bold breakthrough of the Han Dynasty scholars’ traditional Confucian thought,and directly affected the thinking of Wang Bao and others at the time of the two Han Dynasties.The second chapter discusses the formation of the Han Dynasty’s idea of "melancholy beauty".The time of the two Han Dynasties was a crucial period in the formation of the idea of "melancholy beauty".In terms of practice,music appreciation tends to be universal,and "melancholy" is loved by the ruling class and the people as a musical performance,providing a practical basis for the formation of the idea of "melancholy beauty".Theoretically,the conflict between the idea of music education and the practice of "melancholy" has triggered the dispute between Yazheng and Promoted the formation of the idea of "melancholy beauty".Liu Xiang’s Yaqinfu for the first time used piano music to express "melancholy without encountering",consciously using music to interpret "melancholy",and pointed out that "melancholy" can be deeply touching,and the practice of Sima Qian’s "angry writings" in the field of music;Wang Zheng’s "angry sound" is the expression of Sima Qian’s "angry writings" in music theory;Wang Chong put forward that "all writers want to be sad",and for the first time took "melancholy" as the standard of artistic creation,marking the formation of the idea of "melancholy beautiful".The third chapter discusses the deepening of the Han Dynasty’s idea of "melancholy beauty".It is mainly manifested in two aspects,the first is the deepening of the practice of "melancholy beauty",that is,the expansion of the idea of "melancholy beauty" to poetry,and the creation of poetry deepens the connotation of "melancholy beauty" thought.The second is the expression of the profoundness of the idea of "melancholy beauty" at the end of the Han Dynasty,on the one hand,it is manifested in the awakening of the consciousness of the tragic life of the late Han Dynasty,and on the other hand,it is manifested in the fact that the people of the late Han Dynasty believe that "sorrowful sound" is not only an aesthetic feeling,but also purifies people’s hearts,and the appreciation and pursuit of "sorrowful sound" just reflects their pursuit of freedom and individuality.The fourth chapter discusses the creation and appreciation practice of the "sad sound" of the Han Dynasty.In general,the creation of "sad sounds" in the early Han Dynasty was mainly concentrated in the aristocratic class,and after the "liyuefu" of Emperor Wu of the Han Dynasty,the creation and appreciation of sad sounds began to move downwards and became a fashion,and by the end of the Eastern Han Dynasty,the creation of "sad sounds" gradually became literati.The creation and appreciation of "melancholy" is the basis for the formation and development of the idea of "melancholy beauty",and is an important part of the study of the han Dynasty’s "melancholy beauty" thought.The fifth chapter discusses the influence of the Han Dynasty’s idea of "melancholy beauty" on Wei and Jin poetry and literary theory.The view that literary creation and criticism of "melancholy " as beauty in the Wei and Jin dynasties was influenced by the Han Dynasty’s idea of "melancholy beautiful",and formed an aesthetic tendency of "melancholy" as beauty in poetry creation and literary theory.