A Study On Zhu Liyuan’s Aesthetic Thought

Half of the 20 th century,Chinese contemporary aesthetics has experienced the debate on "aesthetics","aesthetics" and other important stages,gradually establish the mainstream status of the practice aesthetics of marxism and achieved a series of fruitful results,but also reflects the theory of limits.As A participant in contemporary aesthetics,Mr.Zhu Liyuan tries to combine Marx’s practice theory and ontology theory on the basis of human studies,transcend the epistemological thinking limitation of subject and object dichoism,and move towards the road of practical ontology aesthetics,which provides a good reference for the development of new century aesthetics,and also brings important enlightenment for contemporary aesthetics to get out of the predicament.Therefore,Zhu Liyuan’s aesthetic thought has important academic value and research value.At present,the academic circle lays more emphasis on the research of aesthetic principles,and lacks the overall grasp of Mr.Zhu Liyuan’s aesthetic thought.Zhu Liyuan’s aesthetic thought involves practical aesthetics,Chinese and Western aesthetics,artistic aesthetics and so on.Through the study of Zhu Liyuan’s aesthetic works,it is found that his theory absorbs and generates theory responds to the thinking of "existence".Therefore,with "generation" as the clue,on the basis of previous achievements,the author conducts a more systematic and in-depth study of his aesthetic thoughts,in order to achieve the creative meaning of the text.The main body of this paper is divided into four parts.Firstly,the first chapter traces the theoretical origin of Zhu Liyuan’s aesthetic thought.His aesthetic thought was deeply influenced by Hegel’s aesthetics,Heidegger’s ontology,Marxist philosophy and Western aesthetics.At the same time,it also absorbs the Chinese classical aesthetic thought of "unity of nature and man" and "realm theory".Based on the reflection of contemporary Li Zehou’s practical aesthetics,this paper inherits and absorbs his teacher Jiang Kongyang’s aesthetic thought and creates a road of practical ontological aesthetics.The second chapter is an in-depth study of the core practical ontological aesthetic view of Zhu Liyuan.Mr.Zhu Liyuan innovatively turned to thinking about the existence of beauty,proposed that beauty is generated and not ready-made along the way of thinking of generative theory,and further explained aesthetic activities.The third chapter specifically studies the imagism,an important component of Zhu Liyuan’s aesthetic thought.On the basis of practical ontological aesthetics,Mr.Zhu Liyuan believes that art is a kind of practical spiritual activity and an aesthetic creation of a fictional image world.He proposed that art exists in the activity of art creation--art work--art reception.He believed that art creation is the process of image generation,which requires creators to be "touched" and "spiritual thinking",and art work is the materialized transmission of aesthetic image.The reconstruction process of artistic reception as image requires the recipient to play the role of subjectivity through the three links of view,taste and enlightenment.Finally,the fourth chapter discusses the main contribution and enlightenment significance of Zhu Liyuan’s aesthetic thought.Mr.Zhu Liyuan devoted himself to the construction of aesthetic system with Chinese characteristics and made important contributions to the study of aesthetic history in the combination of historical theories.At the same time,he sticks to and exalts the humanistic spirit and emphasizes generative and conversational thinking mode,which undoubtedly has important enlightenment for the construction of contemporary Chinese aesthetics.Zhu Liyuan’s aesthetic thought system is open and generative,and his aesthetic thought finally points to reality and life.