Research On The Formation Of Contemporary Aesthetic Image Theory

Contemporary Aesthetics of Imagery refers to the aesthetic discourse on "imagery" that has been developed in the Chinese academic community since the1980 s within the context of contemporary aesthetics.The construction of Contemporary Aesthetics of Imagery emerged from the development of imagery studies in the 1980 s.Scholars such as Ye Lang and Wang Yuxiong,among others,represented a departure from the reductionist approach of traditional Chinese imagery theory,opting instead for a systematic reinterpretation of aesthetic imagery.Within the framework of contemporary aesthetics,the construction of this discourse entails both the acceptance of traditional imagery resources and the assimilation of achievements in Western modern aesthetics.Therefore,the generation of Contemporary Aesthetics of Imagery serves as a case study of the transformation from tradition to modernity and as an instance of dialogue between Chinese and Western aesthetics.This research aims to analyze the motives,major theories,theoretical resources,and developmental insights involved in its formation.The reason why "imagery" has undergone a conceptual shift and become a central category in aesthetics,thus directly driving the generation of Contemporary Aesthetics of Imagery,is fundamentally rooted in a renewed emphasis on the study of aesthetic experience within academic research.This renewed focus on aesthetic experience implies a departure from the conception of aesthetics as a cognitive activity to be investigated and discussed,instead highlighting an emphasis on the aesthetic activity itself.The gradual decline and reevaluation of "image-oriented thinking" and a shift away from a subject-object dualistic mode of thinking directly contributed to the integration of the category of "imagery" into the field of aesthetic research.Consequently,influenced by Zhu Guangqian’s aesthetic theory of imagery,scholars such as Ye Lang,Wang Yuxiong,and others turned their attention to the category of "imagery" derived from traditional Chinese sources.Among the scholars,Ye Lang,Wang Yuxiong,and Zhu Zhirong have proposed the most influential and impactful theories on imagery within the context of Contemporary Aesthetics of Imagery.They have elevated traditional "imagery" to a central category in Chinese aesthetics,drawing from both Chinese and Western aesthetics to construct a modern aesthetic system.By incorporating insights from modern Western psychology aesthetics and phenomenology aesthetics,they have endeavored to facilitate the modern transformation of traditional imagery resources and contribute to the establishment of a contemporary aesthetic framework.As an exemplification of the transformation from tradition to modernity and a platform for dialogue between Chinese and Western aesthetics,the generation of Contemporary Aesthetics of Imagery offers an opportunity to reflect on the achievements and shortcomings of related research in the current scholarly community.It is crucial to be cautious of the tendency to oversimplify "imagery" within the development of contemporary aesthetics,thereby avoiding an excessively "imagery-centric" approach.In reality,whether categories like "aesthetic conception" or "imagery" represent core concepts in traditional Chinese aesthetics is not of primary importance.In the study of the history of contemporary aesthetics,it is more crucial to identify an effective entry point for exploring and interpreting the resources of ancient Chinese aesthetics and to uncover the unique aesthetic spirit of Chinese aesthetics within its cultural tradition.