The Study Of "Yang Gang "and "Yin Rou"

"Yang Gang" and "Yin Rou" are important categories in ancient philosophy and aesthetic works.Their theoretical roots are rooted in the simple materialistic dialectics thought in ancient times,which is a primitive dichotomy of Yin and Yang formed by Chinese ancients through observing and understanding various phenomena in the field of nature and social life and seeing that all phenomena have positive and negative aspects in life and social practice activities.Later in the Spring and Autumn period after various schools of interpretation and development,rose to the "Yin and Yang" philosophical concept.As the opposite attributes of things derived from this dichotomous thinking,"hardness" and "softness" are used to explain the formation of the universe in Yi Zhuan,which has abstract philosophical meaning.It can be said that in Yi Zhuan,"Yin and Yang" and "rigid and soft" are connected in the original sense,and are combined into the concepts of "Yang Gang" and "Yin Rou" respectively.Later,it was introduced into the field of literature.Cao PI wrote essays on Qi and Liu Xie inherited and enriched his theories,and discussed writers’ works with "hardness and softness",and put forward the "eight body" style theory which is opposite to each other.Later generations of theorists also made a summary of the style of the article,the name of which could not be listed one by one,until Yao Nai in the Qing Dynasty was inclusive and formally established "Yang Gang" and "Yin Rou" as the two major aesthetic styles,thus "Yang Gang" and "Yin Rou" completed the transformation into the aesthetic category.It is worth mentioning that these two aesthetic styles,with their high generality and inclusiveness,are extended in the cultural gene of the Chinese nation,not only reflected in articles,more widely reflected in the fields of poetry,painting,music,dance and other arts.This paper is divided into three parts.The first part probes into the philosophical concept of Yin and Yang.The concepts of "Yin" and "Yang" originally come from the level of life experience,which is the expression of the external attributes of things.Then its scope of use continues to expand,its connotation also continues to enrich,gradually transformed into an abstract and generalized meaning of inherent attributes.At the same time,they are opposite to each other and unified with each other.They are in dynamic change,which inherently contains the factors that change everything.During the Spring and Autumn Period and the Warring States Period,the concept of "Yin and Yang" rose to the philosophical category and formed the theory of "Yin and Yang" after being interpreted and developed from different perspectives.The second part combs the development track of "Yang Gang" and "Yin Rou" as aesthetic categories.In Yi Zhuan,the concept of "rigid and flexible" is introduced and endowed with abstract philosophical meaning.The internal connection between "rigid and soft" and "universe" and "Yin and Yang" also lays a foundation for the application of the concepts of Yin and Yang in the field of artistic creation.Cao PI,Emperor Wen of Wei,put forward the theory of "Wen Qi",which regarded the process of literary creation as the gasification process of Qi,which was an aesthetic extension of the application of the meaning of "qi".At the same time,the introduction of the concept of "qi" also implied the relationship between literary creation and life phenomenon,and completed the transition from "qi" to "Wen Qi" in the aesthetic sense.In the Southern Dynasty,Liu Xie inherited and translated Cao PI’s theory of "clear Qi" and divided the qi of heaven and earth into "just" and "soft",which were also reflected as the personality traits of writers and were poured into their works to form a style of just and soft,then put forward the "witty theory of Firm and Soft",and summed up the style of "eight bodies".After Liu Xie,the division of poetry and prose in style types in successive dynasties is too numerous and quite extensive,such as "Poetry style","24 Poems",although it can not be simply summed up as "Yang Gang" and "Yin Rou",but how much can be seen in the shadow of the two.It was not until Yao Nai in the Qing Dynasty had an inclusive view that he classified it into "masculine" and "feminine",which was simple and all-encompassing."Yin and Yang" represented the theoretical source of style,while "rigid and soft" pointed to people’s aesthetic feelings.Thus,"Yang Gang" and "Yin Rou" had completed the transformation to the aesthetic category.The third part analyzes the works that reflect the beauty of "Yang Gang" and "Yin Rou" in the artistic creation practice.Although "Yang Gang" and "Yin Rou" as aesthetic categories were formally established in Qing Dynasty,as two categories with national characteristics,they have been reflected in the ancient Chinese art creation.Therefore,this chapter analyzes the style characteristics of "Yang Gang" and "Yin Rou" from the perspectives of northern and southern styles,creative subject content and artistic language by combining the representative works of art in different fields.